Record of European Armour and Arms

A RECORD OF
EUROPEAN ARMOUR AND ARMS

VOL. IV
A RECORD OF

THROUGH
SIR
SEVEN CENTURIES
BY
GUY FRANCIS LAKING,

CB.. M.V.O..
F.S.A.
Bt.
LATE KEEPER OF THE KING'S ARMOURY
VOL. IV
'^:^'
1^^\^
LONDON
AND
SONS, LTD.
SEEN C/ PRE!idiVATlON
SiiRViCES
DATE.
.
G. BELL
MCMXXI
m?
i \99)
u
800
\j
A:
CHISWICK
I'KESS:
PRINTED IN GREAT BRITAIN CHARLES WHITTINGIIAM ANT) GRIGGS (PRINTERS), LTD. TOOKS COURT, CHANCERY LANE, LONDON
CONTENTS OF VOLUME
CHAPTER XXIX
ENGLISH ARMOUR OF WHAT
IV
WE NOW TERM THE GREENWICH
SCHOOL
PACK
ARMOUR MADE FOR ENGLAND

A
series of suits
noted Englishmen in the latter part of the XVIth century are believed to be of English work, but the names of the armourers who produced them are unknown The master-armourer Jacobe The famous album of drawings, now preserved in the Victoria and Albert Museum The endeavour of certain experts to confor
made
nect the work of Jacobe with that of the German armourer of Innsbruck, Jacob Topf The absence of proof of this identification The author's opinion that all these suits must be The possible reason for the making classed under the heading of the Greenwich school of the Jacobe album The complete list of the plates in the album, together with the
suits or
parts of suits that
we
are
now
able to identify
The
suits or parts of suits
and as far as possible their histories given Two suits in the Imperial Armoury of Vienna considered to be the work of Jacob Topf, their dissimilarity in make and decoration to all those we now class under the heading of the Greenwich school
reviewed and illustrated
in detail,
..............
CHAPTER XXX
THE LATEST
XVIth
CENTURY SUITS OF CONTINENTAL MAKE ARMOUR COMMONLY KNOWN AS " PISAN "
DECADENT
short chapter on that decadent type of continental armour classed under the general " heading of Pisan," so called from the town in Northern Italy chiefly responsible for its large output The smart but cheap " reach-me-down " armour used throughout the
continent in the last quarter of the XVIth century The make of this particular type of armour varying in quality according to the workshops where it was produced The master of this particular school, Pompeo della Cesa Certain suits and half suits that
from his hand The richness of the colour effect of the decoration " and Brooms engraving A suit in the Armoury at Malta
may come
......
"
Mops
77
CHAPTER XXXI
CLOSE HELMETS OF THE XVIth CENTURY
The
close helmet of the XVIth century, its various types, th^ descendant of the fighting helmet of the grand epoch of the XVth century the XVIth century close helmet
historically considered
The
plain Maximilian, the fluted
Maximilian, the grotesque

Maximilian, the Landsknecht, etc. Many of these types of head-pieces have been described with the full suits referred to in previous chapters Helmets of the Kolman and Wolf schools Of the Milanese type Of the Pompeo della Chiesa school " Mops
I'AGK
and Brooms
ing helmets
"
decoration
'Wv'^
Head-pieces of the Greenwich school Church helmets Tilt-
Esatffa
The
"
"
arming-bonnett
87
CHAPTER XXXII
THE BURGONET OR OPEN CASQUE
The open helmet termed
latter
burgonet, and as to the origin of the
name
The evolution of the
XVth century open helmet into open casque or burgonet of the XVIth century Apart from those simple helmets worn by the ordinary soldiery, the nationality of
nearly every form is more readily recognized by its ornamentation than by its form Of all types of XVIth century helmets, the burgonets present examples of the most
luxuriant adornment
review of some of the most famous burgonets extant taken under the heading of nationalities, and an endeavour to trace their possible makers Those of Italian origin from about 151010 1600 Those of German origin Those of English origin from about 1 520 to 1600 Those of French origin from about 540 to 580
25
CHAPTER XXXIII
MORIONS AND CABASSETS
The open helmet
Its origin popularity with all nationalities as an infantry head-piece; like the burgonet often the Certain representative examples not grouped in subject for the richest workmanship
of the
XVIth
century
known
as the
morionÎts possible
supposed nationalities, but classed in certain chronological order The open helmet of the latter part of the XVIth century known as the cabasset Some rich examples Their decadence of make and meretricious decoration towards the close of the century, and in the first quarter of the XVI 1th century Leather morions and
their
cabassets
........
ITALIAN, GERMAN,
.......
193
CHAPTER XXXIV
AND FRENCH PAGEANT SHIELDS
medium
for the expression of the art of the artist-
The pageant
shield of the
XVIth
century, a
armourer goldsmith of the time Often the form of a royal gift Must be considered rather as an artistic achievement of the armourer Pageant shields of Italian origin A few of the most famous extant by the Negroli, Picinino, and other armourers Pisan
Giorgio Ghisi Geronimo Spacini Wooden shields The rivalry of Germany Some famous extant German pageant shields Shields by the Kolmans and Wolf The Spanish General's Shield of Land.shut A of the Greenwich A group of French pageant shields by an armourer of recognized work but unknown name A description of shields by this artist-armourer The Cellini shield at
shields
.shield
.school
"
"
all
"
"
Windsor
vi
218
CONTENTS OF VOLUME
IV
CHAPTER XXXV
THE SWORD AND RAPIER OF THE
The development
XVIth
CENTURY
of the sword and rapier during the XVIth century The simple character of the hilt of the sword in the early years of the XVIth century The developments in of sword-play necessitated a more complicated form of hand defence the science The rapier in its earliest form and suggestions as to the derivation of its name The
l-ACE
"case of rapiers" The first Italian swept-hilted rapiers; some notable The foining sword of contemporary times The two-handed sword of the XVIth century some notable examples The curved sword of the XVIth century, frequently mounted Its finest type; some notable with beautiful decoration The true "town" sword The "swept" hiked sword-rapier of the third quarter of the XVIth century, examples Some superb examples Other types often made with a companion left-hand dagger of rapier and sword hilt of the second half of the XVIth century The Italian type The Spanish type The French type The German type The English type The " " " Spinola sword Sword presented to Henri IV Clemens Horn The Heralds' College " The XVIth century basket-hilted swords The Schiavoiia The Flemish type of sword
examples
late
XVIth century
The early XVI Ith century sword-rapier
260
CHAPTER XXXVI
HAFTED WEAPONS OF THE
Hafted weapons
in
XVIth
AND
XVIIth
CENTURIES
and onwards
torical
century general warlike lance Lance-heads of the XVIth century reminiscent of knightly days The highly decorated pole-axes, hammers, and maces Certain XVIth century maces of Derived from oriental forms The mace becomes the military baton interest comA XVIIth century form of the pole-axe The combination hafted weapon or hammer Doubtless individual whims The hafted weapons bined with mace, axe, the infantry, including the glaive, the voulge, the partisan, the ranseur, the spetum, the and the guisarme, now parade arms The processional glaive and partisan The highly decorated partisan of the personal guards of sovereigns The superb partisans of The boar-headed spear The linstock A newly invented weapon of the individuals now a ceremonial and a XVIth century The pike Carried at Waterloo The
his-
use from the middle of the
XVIth
The
Pistol,
01
bill,
sporting
weapon
..............
javelin,
33^
IV
Vll
LIST
FIG.
OF ILLUSTRATIONS
H. Carre
IN
VOLUME
Collection:
IV
PA(;t
1099.
Four
breastplates, from an Italian drawing.
............
MS
Monsieur
1 1
100.
Gauntlets, from the armour of Thomas Ratcliffe, Earl of Sussex,
K.G.
I
lOI.
102.
The Armour
"
Metropolitan Museum, New York Earle OF Sussex." Jacobe
.....
'5 15
103.
104.
Robert Dudley, Earl of Leicester, K.G. (1534-88) Tower of London " The Earle of Lesseter." Jacobe MS. The Earl of Leicester, from a picture by Federigo ZucTcaro. Collecof
tion
:
The Duke
1105.
Parts of the armour of Lord North, late

of
London
II05A,
Burgonet, third quarter

"
106.
107.
iioS.
1
109.
10.
1 1
Pembroke My Lorde Northe." Jacobe MS Armour of William Somerset, Earl of Worcester (1526-89). Tower of London Additional close helmet to the suit (Fig. 107). Tower of London Part OF the suit (Fig. 1107). Tower of London Portrait of an Earl of Worcester, wearing his Greenwich suit
i
......... ....... ........... .......... ...........

of Sutherland
18 9
20
XVIth
century.
Tower
2
I
XVIth
century.
Collection:
The
Earl of
22
23
....
.
25 26
27
28
Collection
1 1
1
The Duke
of Beaufort
1.
12.
1113.
1 1
14.
1115.
X
116.
17.
From an engraving of a variation of the portrait (Fig. 10) The Earle of Woster." Jacobe MS. Armour of Sir Christopher Hatton (1540-91). Windsor Castle Extra pieces belonging to the above suit. Windsor Castle " " Sir Christofer Hattone (first suit). Jacobe MS. Armour of Henry Herbert, Earl of Pembroke, K.G. (1534-1601) Collection The Earl of Pembroke "The Earle OF Penbrouke." Jacobe MS
i
i
.
29
.30
"
31
33
35
36
37
1118.
1 1
19.
1 1
20.
Vamplate of the lance, from the missing second suit of Christopher Hatton. Tower of London Armour of Sir John Smythe (1534 ?-i6o7). Tower of London Additional parts of the above suit. Tower of London
.
.....
Sir
3
39
40
ix
EUROPEAN ARMOURAND ARMS

FIG.
I
12
I
t.
22.
124.
25
LIST
BUKKE FROM
Brasiers'
143-
OF ILLUSTRATIONS
TIIK
IN
VOLUME
ARMOUR.
IV
PAGE
142.
BURGONET OF SiR H.
Company
144. 145-
45-'
451
[46. 147.
"Sir Harry Lea, M"* of the Armore" (third suit). Jacobe MS. Portrait of Sir James Scudamore (dated 1619) BuRGONET AND BUFFE FROM THE ARMOUR OF LoRD CoMPTON. Metropolitan Museum, New York The LEFT ARM OF THE SAME SUIT BEFORE RESTORATION The same, after restoration by M. Daniel Tachaux
.
......... .........
Ltli's
(a)
Armoiircrs' aild
61
62
63
64
64 64 66 68
The Compton
'
front; (d) back Portion of the left elbow-cop before restoration

suit as restored,
...
.
.
:48.
149.
My Lorde
Cumpton."
Jacobe
(a)
MS
front;
(d)
69
back.
The Sir J. Scudamore New York

"
...........
suit,
Metropolitan
Museum
70
71
50-
M'^ Skidmur."
Jacobe
MS
52. 53154-
Armour OF Lord BucKHURST. Wallace Collection Miniature portrait of Lord Buckhurst. Windsor Castle " My Lorde Bucarte." Jacobe MS. Suit of armour, said to have been made for Archduke Carl von
.
72
73
73
'
55-
Imperial Armoury, Vienna Suit of half armour by Pompeo della Chiesa, about
Steiermark.
politan
56.
Museum, New York
.......
i
.....
century.
.
.
75
590-1600. Metro 78
Collection
Suir OF armour.
North
.
Italian, late
. . .
XVIth
.
Stibbert, Florence
[57^58-
Portrait of a knight of Malta, with armour in the Pisan style Portrait of a nobleman, by J. Sustermans, with armour in the Pisan
STYLE.
Collection: Dr. Bashford Dean,
in
79 80
New York
:
80
82
59-
Mannequin
160.
Portrait of
du Louvre
half armour, of Pisan type. Collection Stibbert, Florence Malta. Musee J. J. de Verdelain, Grand Commander of
............
.
83
161.
Suit of armour made for the Grand Commander, end of the XVIth century. Armoury of the Knights of St. John of Jerusalem, Malta
84
85 88
162.
[63.
164,
.65.
166.
167.
BuFFE BELONGING TO the SUIT (Fig. Ii6i) Helmet, German, about 15 15. Collection: Mr. S. J. Whawell Helmet, Italian, about 15 10. Collection: Author Helmet of great proportions, German, early XVIth century. CollecAuthor tion Helmet, German, about 1520. National Bavarian Museum, Munich Helmet, German, about 1520. National Germanic. Museum, Nuremberg
. .
.
88
...........
xi
89
90 90

FIG.
PAGE
i68.
169. 170.
171.
172. 173. 174.
175.
176.
177. 178.
179. 180.
Helmet, German, about 1540. National Germanic Museum, Nuremberg Helmet, German, ABOUT 1520. Rotunda Museum, Woolwich Helmet, German, about 1525. Burges bequest, British Museum Helmet, German, about 1530. National Bavarian Museum, Munich Helmet, German, about 1525. National Bavarian Museum, Munich Helmet, German, about 1530. Wallace Collection Helmet, German, about 1530. Wallace Collection Helmet, German, about 1515. Metropolitan (a) back; (d) front. York Museum, New Helmet, German, about 1530. () front; (d) back. Metropolitan Museum, New York Helmet, German, about 1540. National Germanic Museum, Nuremberg Helmet, German, about 1520. Tower of London Grotesque VISOR, ABOUT 1520. Burges bequest, British Museum Helmet (Will Somers'), German, about 1515-20. Tower of London
.
.
90
91
92 93 93
93 93 94
.......... ..........
.
.
94
95
96
97 98
181.
Helmet, German, about 1515-20.

calchi,
Rome
182.
183.
Helmet, German, about 1530. National Germanic Museum, Nuremberg Helmet, German, about 1540 (with wings added later). Tower of
184.
185.
186.
187.
London Helmet, German, about 1540. Wallace Collection Helmet, German, made by Seusenhofer for King Ferdinand, about 1528. Imperial Armoury, Vienna Helmet, German, about 1530. Wallace Collection Helmet, German, by L. Kolman. (a) front with raised visor; ((5) back
Collection: Mr. F. Joubert
.
........... ...........
...... ... ....... .....
S. J.
Collection: Prince Ladislaus Odes-
99 100
100
lOI
102
103
188.
189.
Helmet, German, of Spanish type, about 1540. Helmet, German, of Spanish type, about 1550.
Wallace Collection
Wallace Collection
104 106
107 107 108 108 109
109
I
1
190.
191. 192.
193. 194.
195.
Helmet, Helmet, Helmet, Helmet,
about 1550. Musee d'Artillerie German, 1550-60. Collection: Mr.
German, 1550-60. Collection: Mr. S. J. German, about 1550. Wallace Collection Helmet, German, about 1550-60. Musee d'Artillerie, Paris Helmet, German, about 1570, made for the Emperor Ferdinand
.
.
Whawell Whawell
Wallace Collection
196.
197.
.........
xii
10
10
1
198.
Helmet, probably French, ABOUT 1550. Collection: Author Helmet, Italian, 1560-70. National Bavarian Museum, Munich Helmet, Italian, about 1560-70. Collection: Mr. S.J. Whawell
LIST
FIG.
1
OF ILLUSTRATIONS
IN
VOLUME
IV
PAGE
199.
1200.
1
Helmet, probably French, about 1570-80. Mu.see d'Artillerie, Paris Helmet, PROBABLY German, 1590. Collection: Stibbert, Florence
12
201.
1202.
1203.
Swinbrook Church, Oxon. (a) Italian form, probably English make, 1580-90; (6) English, about 1560-70 Helmet, probably English, about 1580-90. .Stanton Harcourt Church Helmet, made for tilting, German, about 1570. Collection: Baron de
in
.
.
Helmets
15
116
Cosson
1204.
Helmet, for field or tilt wear, German, about 1560.

Prince Ladislaus Odescalchi,
1205.
Helmet, made solely for

Collection
............ ...... ...........

Collection
117
Rome
118
th.ting, German, about
1560.
Wallace
119 120
121
1206. 1207.
I
Tournament helmets made for Charles

Zf.scf//"/'^
(reinforcing piece).
Royal Armoury, Madrid Collection: Mr. F. Joubert

V.
(a)
208.
Tilting helmet, German, about 1545-60. Collection: Mr. S. J. Whawell
with escuffa;
{b)
without,
122
1209.
Helmet, Italian, about 1570-80

Millbank
(inside view).
Mess of the R.A.M.C.

Medici
Florence
123 126
1210.
121
1.
From Michael Angelo's tomb of Lorenzo

Casque salade, late Italian,
de'
Back view of the head of Cellini's Perseus.
126
127
1212.
1
2 13.
1214.
1
215.
2 16.
7.
Burgonet, North Italian, Curiously decorated suit, with burgonet. North Italian, about 1510-20 Salade burgonet, North Italian, about 15 10. Musee d'Artillerie
.
XVth century. Royal Armoury, Madrid early XVIth century. British Museum
128
129
130
121
1
Burgonet, North Italian, about From a drawing by L eonardo da
1520.
Vinci
2 18.
219.
1220. 1221.
Burgonet, by Caremoi.o di Mondrone, 1533 Reproduction OF THE original drawing of the above Burgonet made by Bart. Campi for Guidobaldo, Duke of LIrbino
.
...... .....
Wallace Collection
.
130
133
135
1222.
1223.
Breastplate made at the same time as the above. Bargello, Florence Left PAULDRON, PART OF the same suit Right pauldron, now associated with a Picinino suit. Metropolitan
.......
.
.
136
137
Museum, New York

1224.
1225.
1226. 1227.
......
.
.
137
Burgonet, Italian, 1560-70. Imperial Armoury, Vienna Burgonet, probably North Italian, about 1540 Burgonet, by the Brothers Negroli, 1545 Burgonet, BY the Brothers Negroli
Burgonet, FROM the school OF the Negroli Part of a full burgonet, bv one of the Negroli
xiii*
140
141
'43
143
"43
1228.
1229.
144

FIG.
PAGE
.
.
BURGONET, BV ONE OF THE NeGROLI, ABOUT 153O-4O 1230. I23OA. BURGONET, BY THe' BROTHERS NeGROI-I, PRESENTED TO ChARLES BUFFE. (a) BuFFE and GORGET PLATES BY THE BROTHERS NeGROLI
PLATE OF THE BUFFE, SHOWING THE DATE
;
-144
I
V
(d)
IN
534
SIG-
44
LoWER
146
(c)
23
IB.
NATURE Right cuissard, from a suit MARK OF the NeGROLI
......
THE SAME WITH THE
.
in
.-
the MusfiE d'Artillerie, showing the

. .
'47
1232.
1233123412351236.
(a) Burgonet, by Philip Negroli, 1543 (d) the same, full face Burgonet, by Philip Negroli, about 1540
;
149
151
Burgonet, North Italian, about 1550 Burgonet, North Italian, about 1550. Wallace Collection. Burgonet of the Morosini family, (a) Profile view. Collection: Mr.
.
152
'53
J.
1236.
1237.
(c) Three-quarter view with VISOR lowered -157 by Lucio Picinino, made by order of Charles V. Imperial Burgonet, .158 Armoury, Vienna
(d)
Widener, Philadelphia The same front view with visor raised

. .
-156
.'
1238.
Skull-piece of a burgonet, by L. Picinino.

'
Metropolitan Museum,
New York
1239.
1240.
1
158
. .
.
Burgonet, by L. Picinino, about 1,560 Burgonet, by L. Picinino, about 1560.
.160
.
Collection: Mr. D. M. Currie
161
241.
Triple combed burgonet, of the guard of Cosimo de' Medici, about Collection: Mr. D. M. Currie 1570.
.
162
242.
1243-
Triple combed burgonet, somewhat later than the last .163 Burgonet of the guard of Pope Julius III, about 1550. Metropolitan
.
Museum, New York

1244.
1245-
Burgonet, Italian, about 1580 Burgonet, showing the evolution 1600
........
.
. .
.164
164
in
the cabasset-morion, about 1580.
.164
1246.
Landsknecht soldiers wearing the German burgonet, from an engraving BY Hans Sebald Beham (1500-50) .166
.
. .
1247.
Burgonet, probably by L. Kolman of Augsburg, about 1530.

Collection
.
Wallace
.
.167
1248.
1249.
1250.
Triple combed burgonet, Nuremberg, about 1540 .168 Triple combed burgonet, Nuremberg, ABOUT 1540 168 Triple combed burgonet, probably North Italian, but of German
....
.
FASHION, ABOUT
1251.
540-50.
Collection: Stibbert, Florence
168 169
Burgonet, German, dated 1546.
Collection:
*xiv
Max Kuppelmayer
LIST
OF ILLUSTRATIONS
IN
VOLUME
IV
P.*GE
52.
BuRGONET, German, about 1560, with etched bands. Collection: the Herr Hefner-Alteneck
.........
late
170
171
253. 254.
255. 256.
BuRGONET, German, AHOUT 1580. National Germanic Museum, Nuremberg BuRGONET, German, 1607. National Germanic Museum, Nuremberg
"/I
I
257.
Burgonet, possibly by Jacob Tope of Innsbruck. Musê d'Artillerie Burgonet, German, about 1570. Imperial Armoury, Vienna Burgonet, probably German, under Italian influence, about 1570 Wallace Collection
Burgonet, German, BY
72
258.
259.
260.
261.
[262.
Burgonet and buffe, Greenwich school, late XVIth century. Tower of London Burgonet and buffe, Greenwich school. Tower of London Burgonet and buffe, Greenwich school. Tower of London Burgonet, with copper gilt enrichments, about 1600-10. Tower of London
. . .
......... ...........
Wolf
OF Landshut.
.
. .
.
'74
176
178
178
178
53.
;264.
Burgonet, about 1545. Royal Armoury, Madrid Burgonet, probably given by Catherine de' Medici to Ferdinand
Metropolitan Museum, New York Buffe, belonging to the above. Collection: Mr.
....
.
180
182
......
W.
Newall
.
[265.
183 188
266.
267.
Musee d'Artillerie Burgonet, probably French, about 1570-80. Parade burgonet, made for Louis XIV. Metropolitan Museum,
190
New
191
York
1268.
[269.
1270.
:27i.
Morion, Spanish, about 1500 10. Royal Armoury, Madrid Morion, Italian, 1530-50. Collection: Mr. F. Harman Gates, F.S.A Hat of figured black velvet, late XVIth century. London Museum
.
194 '94
'95
Hat
of slashed leather, late
London Museum
[272.
.........
XVIth or early XVIIth
.
.
centurie.s
'95
[273.
;274.
Cabasset-morion, probably Venetian, about 1553. Wallace Collection Shield to which the above belongs. Museo Civico, Bologna Morion, the work of L. Picinino, about 1550-60. British Museum
196
'97
199
275.
1276.
Morion, North Italian, about 1560-70. Wallace Collection Morion, probably German, about 1570-80. Wallace Collection
200
201
277.
[278.
279.
Morion, Pisan school, about 1570-80. Collection: Author Morion, North Italian, about 1570-80. Wallace Collection Morion, North Italian, about 1570-80. Collection: the late Mr.
Stuyvesant
203
203
...........
XV
R
204
205 205
;28o
!8i.
Musee d'Artillerie Italian, about 1580-90. Morion, South German, about 1600. Mu.see d'Artillerie
Morion, North
IV

FIG.
PAGE
1282.
Morion, of the guard of the Electors of Saxonv, about 1580.

d'Artillerie
............
Collection
Musee
206 206
1283.
Morion, as above, showing lion's mask washers to rivets.
Author
I
2 83 A.
I283B.
Dagger of the guard of the Electors of Saxony, about 1585 Collection: Mr. S. J. Whawell Halberd carried by the same guard. Royal Historical Museum
Dresden
207
.........
North North
Italian, about 1570.
1284. 1285. 1286. 1287. 1288.

1289.
Morion, probably French, about 1580. Musê d'Artillerie Morion, of gold and enamel, made for Charles IX of France. Louvre Morion-cabasset, Italian, about 1580. Collection: Mr. W. J. Pavyer
Morion-cabasset,
Cabasset,
207 208
209 210
211
Wallace Collection
North
Italian, about 1590. United Service Institute, Italian, about 1590.

i
London
212
Morion-cabasset,
Cabasset,
1290.
North
Italian, about
590-1600.
Musee d'Artillerie Musee d'Artillerie

.
213 213
I29I.
1292.
Cabasset, Italian, about 1600-10. Wallace Collection Cabasset, of the guard of the Electors of Saxony, about 1610-20,
.
214
214
2 16
Musee
1293.
1294. 1295-
d'Artillerie
.......
Morion, of leather, embossed, Italian, about 1590. Musee d'Artillerie Cabasset, of leather, Italian, about 1580. National Bavarian Museum
1296.
1297.
Morion, of gilded copper, German, about 16 10 Shield, made for Charles V. Royal Armoury, Madrid
Shield, made for Charles V. Royal Armoury, Madrid Shield, by L. Picinino. Imperial Armoury, Vienna
.
217 219
221
1298.
1299.
222
1300.
1301.
1302.
Shield, nv L. Picinino. Wallace Collection Shield, by L. Picinino, about 1570. Royal Armoury, Madrid made for Charles V, about 1540. Royal Armoury, Madrid Shield, Shield, BY Giorgio Ghisi, 1554, British Museum
224
227 228
231
^3031304.
Shield, about 1560. Imperial Armoury, Vienna Shield, etched in the Pisan manner, about 1580.
Shield, as above.
....
i
232
Wallace Collection
233
590-1600.
13051306.
Shield, by
J. Whawell Geronimo Spacini of Milan, about
Collection
Mr. S.
Collection
1307.
.........
V
1540-60.
Wallace
234
1530
Shield, given to Charles
by Ferdinando Gonzaga, about
1308.
1309-
Royal Armoury, Madrid Shield, as above. Royal Armoury, Madrid of painted wood, about Shield, Italian,
G. Durlacher
236
236
Collection:
..........
xvi
M
237
LIST
FlC.
1
OF ILLUSTRATIONS
IN
VOLUME
IV
PACE
310.
Wooden
politan
shikld covered with leather, Italian, about 1560.
Metro238
Museum, New York

isv
131
1.
Shield, German,
D. Kolman, 1552.
itv
.
Royal Armoury, Madrid

1543.
.
240
1312.
Shield,
German,
.
M.
.
Frawenbrys,
.
. .
Royal
.
.
Armoury,
.
Madrid
1313.
.241
.241
243
Shield {TABLACH/yj), German, by M. Frawenbrys. Madrid

.
Royal Armoury,
.
.
3 14.
Shield, German, middle Wolf of Landshut

.
XVIth
century.
The work
ov Sigismunu
1315.
1316.
131
7.
Shield, Greenwich school.
New York
244
245
247
Spanish General's," 1579. Tower of London Shield, " The Cellini" shield. Windsor Armoury
Shield, Louvre school, about 1570.
"The
1318.
Wallace Collection
249
1319.
Shield, Louvre SCHOOL, ABOUT 1590.
Wallace Collection
.
.
250
253
255
1320.
1321.
1322.
1323.
1324.
Shield, French school, about 1570 Shield, made for Charles IX OF France. Louvre, Shield, French school, about 1570. Louvre, Paris
.
'251
.
Shield.
Royal Armoury, Turin Shield, French, by an unknown artist, about 1580. Vienna
.... ........
Paris
. .
256
Imperial Armoury,
258
1325.
Sword, Italian or Spanish, first quarter

d'Artillerie
XVIth XVIth
century.
Musee
261
1326.
Sword,
Italian or Spanish,
first
half
century.
Musee
261
d'Artillerie
1327. 1328.
Showing the correct GRASP of A sword or rapier (two

Rapier, Italian, third quarter
positions)
262
XVIth
century.
Victoria and Albert
Museum
1329.
263
Thrusting sword {estoc), probably French, middle XVIth Musee d'Artillerie

Sword, probably North
d'Artillerie
century.
265
1330.
Italian, middle
XVIth
century.
Musee
266
.
33
1.
1332.
Sword, North Italian, middle XVIth century. Wallace Collection Sword, North Italian, third quarter XVIth century. Collection:
Mr. E. Kennedy
.
267
268 use of the double-
1333.
The Emperor-elect Maximilian learning the
1334.
handed sword. From a woodcut by H. Burgkmair Two-handed sword for practising sword play, German,
XVIth
century.
Ex Londesborough
xvii
Collection
.... ....
269
first half
270

FIG
PAGE
1335.
Two-handed sword,
Collection
Italian, first half
XVIth
century.
Wallace
1336.
1337.
1338.
1339.
Two-handed SWORD Two-handed SWORD, hilt PROBAULY English, about 1540. Penshurst Two-handed sword, probably English. Collection: Mr. J. Seymour Lucas, R.A Musee Two-handed sword, German, middle XVIth century.
AS ABOVE.
. .
.
.271 -271
272
273
d'Artillerie
274
1340.
Two-handed
d'Artillerie
sword,
hilt
German,
mid-XVIth century.
Musee
274
34 1.
Two-handed sword, ordinary Swiss type, late XVIth or early .' CENTURY. Metropolitan Museum, New York
.
XVI Ith
. .
275 275
1342.
1343.
The
PRACTICE of the dusack, from a copper-plate by Yost
1344.
Sabre and scabbard. North Italian, third Imperial Armoury, Vienna Sabre, North Italian, third quarter
.
Amman quarter XVIth century.

.
.276
278
XVIth
XVIth
[a)
century.
Musee
Wallace
.
d'Artillerie
1345.
Sabre, probably German, third quarter

Collection
century.
278
1346.
Sabre, German, middle

PART.
Bargello
...........
XVIth
century,
Upper part;
{b)
lower
280
282
1347.
1348.
1349.
Duke Ferdinand OF Tyrol. Imperial Armoury, Vienna British Museum .Sword-rapier, North Italian, mid-XVIth century. Rapier with "swept" hilt, Italian, third quarter XVIth century.
Svvokd-rapier of
283
Musee
1
d'Artillerie
"
284
"
350.
Rapier with
swept
swept
hilt and dagger, probably French, third quarter
XVIth
1
century.
"
"
Musee
hilt,
d'Artillerie
285
35
Rapier with
Museum, New York

1352. 1353-
..........
French, late
XVIth
century. Metropolitan
286 287
289
"Swept" hilted rapier. Royal Sword hilt, Epee de Religion.

Dagger
.A^
Historical
Museum, Dresden
.
Bibliotheque Nationale
1354.
1355.
with the ABOVE. Musê du Louvre Designs by Hans Mielich for sword, dagger, etc. Collection: the
6-6Y7
....
. .
290
late
Herr Hefner-Alteneck
1356.
.291
292
Rapier
hilt, Italian, third Armoury, Vienna
..........
quarter XVIth
century.
.
.
.
Imperial
1357.
Rapier hilt, gold plated and jewelled, probably German, QUARiEK XVIth century. Royal Armoury, Dresden
xviii
third
293
LIST
'(J-
OF ILLUSTRATIONS
IN
VOLUME
IV
PAGE
358.
Chain-pattern rapier hilt, third quarter

Mr. D. M. Currie
. .
XVIth
,
centurv. Collection:
. , .
.
.
294
295
359.
Chain-pattern rapier hilt hy Savigny of Tours (1578-95). Collection: Baron de Cosson

.
.
360.
Chain-pattern rapier hilt.
361.
Chiselled steel hilt (reputed John Hampden's), third quarter CENTURY. Windsor Castle
Chiselled steel hilt,
l.vte
........ .........
Musee
d'Artillerie
296
XVIth
297
362.
XVIth
century.
Collection:
Major M.
299
. .
Dreger
363. 364. 365.
SvvoRD, Spanish, middle
XVIth
century.
Wallace Collection
century.
3co
Portrait OF Philip
II
BY Titian.
Prado, Madrid
301
Sword
Sword
hilt, Spanish, third quarter Madrid hilt,
366.
Spanish, third quarter
Baron de Cosson
367.
Sword and scabbard, Spanish, third quarter XVIth century. Windsor

Castle
368.
Sword
oury,
hilt, Spanish, by Sebastian F"ernandez,
Madrid
369.
Sword, Spanish, third quarter XVIth century.

de Cosson
.............
Collection
:
............ .......... ...........

XVIth
Royal Armoury,
302
Collection:
XVIth
century.
302
303
305 305
Toledo.
Royal Arm-
Baron
370.
371.
372.
Musee d'Artillerie hilt, French, late XVIth cpzntury. Chiselled steel rapier hilt, Italian, late XVIth century, presented Musee d'Artillerie TO Henri IV by Pope Clement VI 1 1. and chape, Italian, late XVIth century. Collection: Sword hilt
Sword
306
307
^/T,.
Whawell Reverse view of the above

Mr. S.
J.
.........
Collection: Mr. S.
J.
308
309 310
3'i
374.
Sword
hilt, Italian, 1560.
Whawell
375.
376.
T,j-/.
Rapier, French, end OF XVIth century. Dagger belonging TO the above. Wallace Collection
Musee
d'Artillerie
. .
-3''
378.
379.
Sword, German, end of XVIth century. Musee d'Artillerie Sword, English, blade BY C. Horn, 161 7. Windsor Castle Sword, English, blade by C. Horn, end of XVIth century.
.
314
316 316
3 7
1
Windsor
Castle
38b.
381.
Sword Sword
Sword.
hilt, probably English, end of XVIth century. Windsor Castle Collection: hilt, probably English, end of XVIth century.
.
Viscount Astor
1382.
3'8
3 '9
Wallace Collection
xix

nC.
PAGE
1383.
1384.
1385.
1386.
Heralds' College Sword. Heralds' College Sword, Engllsh, EARLY XVHth CENTURY. Ex Spitzer Collection SwORD IIILT, FROM THE PORTRAIT OF SiR FrANCIS LeIGH, ABOUT 162O Sword, REPUTED TO HAVE BELONGED TO Henry, Prince OF Wales. Wal.
.
.
320
321
322
"
lace Collection
323
1387.
1387A.
Sword hilt from a portrait of one of the Fighting Veres, 1618 Sword hilt, English, early XVHth century. Collection: Mr. G. Wil.
324
325
liams
1388.
.............
XVIIth
century.
.
Basket-hilted sword, first quarter the late Mr. R. Stuyvesant

6'Ciy///K0A^^,
Collection:
325
.
1389.
1390. 1391.
Venetian,
Rapier hilt, Flemish, Rapier, Flemish, early XVHtii century. Maconiber

. .
XVHth century. Collection: Mr. F. Joubert early XVHth century. Wallace Collection
.
. .
326
326
Collection: the late F. G.

. .
.327
1392.
Rapier, Flemish, early
XVHth
.
century.
. . .
Collection: the late F. G.

.
Macomber
1393.
-327
328 328
331
Rapier, early
XVHth
century.
Ex
collection: the late Mr. E. Brett.
1394. 13951396.
Rapier, Flemish, ABOUT 1620-30.
Wallace Collection
War
....
Ex
Spitzer Col.
lance heads, first half XVIth century. Royal Armoury, Madrid Chiselled iron pole-axe head, second half XVIth century. Metropolitan
1397.
War
Museum, New York hammer, Italian, second half XVIth century.

.
332
lection
.333
.
1398.
1399.
1400.
1401.
Parade Mace, probably Spanish, second quarter XVIth century. Metropolitan Museum, New York Parade mace, probably Spanish, second quarter XVIth century. Musee d'Artillerie Parade mace, probably French, second half XVIth century. Musee d'Artillerie Parade mace, Italian, second half XVIth century. Wallace Col'
. .
.
.
;iT,7,
334 334 336
lection
.......... ............
XVIth
:
1402.
Three
(d)
MACES, middle
century.
() Italian.
Collection
Author.
Probably French. Metropolitan Museum, ably Spanish. Collection Author

1403.
New
York,
Indian
(c)
Prob:i;^j
Mace, North Italian, late Wallace Collection
XVIth
century, like
'
gakgaz.
338
.
1404. 1405.
Mace, similar to above. Musee d'Artillerie Commander's baton, Spanish, late XVIth century. Wallace Collection
338 338
XX
LIST
FIG.
OF ILLUSTRATIONS
XVI Ith
century.
IN
VOLUME
IV
PAOK
1406.
Pole-axe, early
Metropolitan
Museum, New York
339
339
1407.
Mace, with pistol attached to haft, second half
Musê
1408.
d'Artillerie
1409.
Mace, with pistol attached, Italian, second half XV Ith century. Tower of London -341 Mace, with hidden pistol, Italian, late XVIth century. Musee
. . .
.
..........
XV Ith
.
. .
century.
d'Artillerie
1
10.
War
hammer,
century.
14 11.
Tower
Processional
Collection
1412.
Processional partisan of the Polish guard of Augustus

Collection
1
141
3.
Processional partisan of the guard of the Elector of Bavaria, 1677.
Musee
14
1
d'Artillerie
4.
Processional partisan of the guard of Louis XIV, Wallace Collection
141
5.
Ceremonial partisan, probably German, end of XVIth century.

Spitzer Collection
........ ...... ...... .. ........ .......... .......... ..........

with
five
concealed
by
barrels,
French,
.341 XVI Ith

,
of
London
342
glaive, carried
Pope's
guard,
1605-21.
Wallace
343
II.
Wallace
.
343
345
about 1680.
345
Ex
346
.
1416.
141
7.
14
8.
Windsor Castle Collection: Processional partisan, probably English, about 1600. Author Processional partisan, probably French, about 16 10. Wallace ColPartisan, French, early
XVIIth
century.
346
347
lection
............
German, about
1580, of
1
348
141 9.
Halberds,
the guard of the Electors of (a) Saxony. Wallace Collection; (d) German, about 1580. Ex Spitzer Collection; (<:) German, about 600. Musê d'Artillerie; (rt?) Probably French, about 1590. Musee d'Artillerie; (e) German, 1593. Metropolitan
Museum, New York

British
349
1420.
142
I.
1422.
1423.
Boar-spear HEAD, Milanese, about 1580-90. Boar-spear HEAD, Milanese, about 1580-90. Boar-spear HEAD, Italian, ABOUT 590-1 600.
1
Museum
350
Imperial Armoury, Vienna Wallace Collection

. .
350
351
Linstock head, Italian, late
XVIth
century.
New York
352
XXI
ERRATA
Page
"
Fig.
"
145, line 13, /or "Fig. 23 1 A."

145, line 28,
1231^" read
Page
Fig.
1
/or
"
Fig. 1231/;" read

"
23 IB."
146,
Page
1
/or
"
FiG.
1231" read
the
letters
FiG.
23 1 A,"
"
and
transpose
"{b)"
and
(<:)."
A RECORD OF

THROUGH
SEVEN CENTURIES
CHAPTER XXIX
ENGLISH ARMOUR OF
WHAT WE NOW TERM THE GREENWICH SCHOOL.

now
ARMOUR MADE FOR ENGLAND

jHE
arrived in our chronological review of the complete suits of the XVIth century to describe a series of harnesses which we believe were made at the Greenwich Armoury,
time has
established about the year 1511 by Henry VIII, three years before Conrad Seusenhofer came over to England at the command
Maximilian I to add the finishing strokes to his masterpieces which Maximilian was presenting to Henry. Many of these harnesses are of great historical interest, and we may perhaps be forgiven if we attempt to deal at some length with the history of this Greenwich school of armourers. The author must here acknowledge the great help which the Baron de Cosson has given him, generously placing at his disposal his own researches on
of
the subject. All the harnesses, which we feel convinced came from the Greenwich Armoury, are of superb quality and bear a strong family likeness to each
other,
and are
in configuration
and
in decoration different
from the armours of
as a whole cannot be said to be graceful. The construction of the close helmets shows a considerable fullness to the back
any other school.
The form
of the skull, and the whole effect lacks elegance, but the general form is of Konrad Lockner. distinctly German in feeling, reminiscent of the work
plates of the gorgets are usually high, and the pauldrons are of breadth to the great strength and characteristic in form, giving an exaggerated The breastplates in the earlier suits are of robust and burly shoulders.
The top
character, but gradually develop the peascod form until in the later suits they become flat-fronted with only the peascod survival. The shape of the tassets
IV

rectangular, but the most unmistakable features of a Greenwich suit are the formation of the elbow-cop of two pieces, an interior piece protecting the
is
inside of the elbow joint, and an exterior piece guarding the outside (a construction which is never found in any elbow-cops of fine quality of any other school
and the formation of the grand-guard in two parts. The style of decoration is quite different from any known Italian, German, or French design. Documentary evidence as to nearly all the harnesses in existence, which we are almost certain were made at the Greenwich Armoury, rests upon that furnished by a manuscript in the South Kensington Museum, in which mention is made of an armourer named " Jacobe," who is, we think, the same person referred to by Sir Henry Lee in a document of the year 1590 under
of armour),
thename
Mr. London.
of "Jacobi, M"" workman of Grenevvyche."^ In January I723acertain Virtue exhibited this manuscript at the Society of Antiquaries in
In the year 1790 it was in the possession of the Duchess of a circumstance Portland, a daughter of Robert Harley, Earl of Oxford which makes it possible that it once formed part of the Harleian Library.
;
of the manuscript the name " Mr. Wray appears, and on page 3 are written the name and date 1754 " J. West presumably these were the names of two of the early possessors
On
"
the Table of Contents at the

"
commencement
of the manuscript. In 1790 Pennant must have used it for his engraving of the second suit of Robert Dudley, Earl of Leicester, in his "Account of
London,"^ and similarly Cumberland (Vol. 2, Plate
Strutt's
161)
must have been made from
engraving of the suit of the Earl of it, although he
a mistake in describing the suit as that of the Earl of Essex. The Subsequently the library of the Duchess of Portland was sold in 1799. manuscript was lost sight of for nearly one hundred years, and it.was only in
made
the year 1894, at the sale of the Spitzer collection, that it reappeared, when it was bought by Monsieur Stein of Paris, from whom, on the advice of
Viscount Dillon, it was acquired for the English nation. Viscount Dillon has reproduced in his "An Almain Armourer's Album "^ thirty-one of the The MS. is now drawings to which he has written most interesting notes. in the Art Library of the Victoria and Albert Museum.
[A scrutiny of the MS. shows that it is made up of single sheets in folio, which were bound up in book form when the draughtsman began his record. He left page i blank, which was subsequently used for a Table of Contents
'
* '
Viscount Dillon, Published 1790.
"
Archaeologia,"
4to.
vol. Si, p. 171.
London.
Reproduced
in colour
by W. Griggs, 2
1905.
ARMOUR OF THE "GREENWICH" SCHOOL

by someone probably in the first half of the XVI Ith century, after the volume had been rebound. Pages 2 and 3 are blank, page 4 portrays the first suit, "The Erie of Rutlande, M.R.," which is numbered "i,"and page 5 illustrates the drawings of the four extra pieces of that suit. Pages 6 and 7 are blank, " Erie of Bedforde, M.R.," pages 8 and 9 show the second suit, that of the and the four extra pieces pages 10 and 11 are blank, and thus it continues until pages 58 and 59, which give the suit and its seventeen extra pieces of "Sur Cristofer Hattone," numbered " 16." There is no suit numbered "15," but as there are no missing leaves until pages 93 and 94, doubtless this discrepancy in the numbering was due to carelessness. Pages 62 and 63 " the suit and extra pieces of the Earle of Pembrouke," numbered " 17." give The suits numbered "18," "19," "20," "21," "22," "23," and "24" follow until page 92 is reached, when the leaf of pages 93 and 94 is cut out " and only the drawing of the extra pieces of suit numbered " 25 on page 95 is This missing leaf was probably cut out before the Table of preserved. Contents was written, as the Table does not mention this suit. We do not know, therefore, for whom the suit was made. Pages 96 and 97 are blank, and pages 98 and 99 give the suit "My L. Cobbon," numbered "26"; pages 102 and 103 illustrate the third suit of "Sr Harry Lea," numbered "28." This numbering was apparently due to carelessness, as no leaves are missing
;
numbered "27." The remaining four drawings are not numbered. There are now fifty-eight That the book leaves in the volume, and the last three pages are blank. was bound before the draughtsman began his work is proved by the fact that pages i and 8, 2 and 7, etc., are the same sheets, and therefore another leaf is missing making the total number of leaves up to sixty.
to suggest that
there
was a drawing
of
a suit
Where
the suit
is
numbered, the numbering
is in
contemporary writing
and apparently was made before the colouring. The writing of the numbering is not in the handwriting of the person who wrote the names on the drawings;
a slender argument against Jacobe (of whom we shall speak later) being the The consecutive numbering, the use of a bound book, the draughtsman. a desire to compile progressive character of the decorations, seem to point to a record in what was believed to be the order of their production. C.-D.] " of Ser Henry Lee," without As the fourteenth suit is described as that " Mr. of Tharmerie," an office to which he was the addition of the words
appointed
in
1580,
it
is
written before 1580, and the same hand, some with greater care than others, and as their style and
to be surmised that this description was perhaps as all the drawings appear to have been made by

technique are so similar, they were probably
all
From the fact that the first short period. " the drawing of which is numbered "16," bears the date 1585," fifteen of the drawings were presumably made after that date, for the presumption is
strong that the date on this suit
certainly not the
less
is
done within a comparatively Hatton suit, which is extant,
the date of
:
its
make.
The drawings
are
work of an
pattern. Like the paintings often to the right; but the attitude is always the same. of the ancient Egyptians, the head is invariably in profile, and the body
from one
set
the suits are stiffly drawn, all more or Sometimes they are turned to the left, more
artist
are the drawings designs for the making of armour; they are rather representations of suits already in existence, as obviously must be the case of the design of the one which came from abroad. These
almost
full front.
Nor
drawings, then, are the work of a man who wished clearly to show the decoration of each suit, the pieces and extra pieces of which it was composed, and who was therefore in all probability a skilled craftsman.
Our
inference
is
that the designs of the forms of the
armours were not
taken from those of the suits.
[The manuscript is now bound in calf, and this binding must be, as we have said, the second binding, for many of the drawings are cut. On page i the Table of Contents is written in a hand of the XVI Ith century. This Table was written after the second binding, for there is no sign of the cutting affecting the writing. The table is headed "These are the original drawings of Hans Holbein of suits of armour for the great tournament of King Henry the Eighth," and then follows a list of suits copied more or less exactly from the The writer has omitted to mention some of the descriptions on the drawings. suits, but as the last suit which he indexes is that of "My Lord Bucarte, His Countenance," the writer had the completed volume before him, and his omissions are evidently due to carelessness. The slight differences in spelling of the names on the drawings and in the Table call for no comment. On five of the
:
drawings of the suits are painted faces to the figures, all of the same character, and perhaps later than the designs of the armours, but not later than the writing of the Table of Contents, for the writer of the table calls attention to these heads by noting after the names of the suits of the Earl of Worcester, Lord Compton, and Lord Buckhurst the words " His Countenance." The only point of interest in this Table of Contents is the heading attributing the designs to Holbein, from which we suggest that there was in the first half of the XVnth century a tradition still prevalent that Holbein was the designer of the suits which the person at Greenwich, into whose keeping the volume

century, recorded, for it would not seem likely that the writer of the Table of Contents was someone unconnected with the Greenwich workshops which were closed in 1644. It '^ needless to
first
passed in the
half of the
XVI Ith
say that none of the designs bear the smallest trace of Holbein's art. True it is that there is a decoration of slashing on some of the suits, but although
slashing is Holbeinesque, this decoration is represented rather in the character of an historical survival than of the real slashing decoration of surmise that when Henry VHI was living he had Holbein's period.
We
employed Holbein to design armours, and in the early days of the Greenwich workshops armours may have been made from Holbein's design. Some of the drawings are recorded as being of suits of the time of Mary, the letters " M.R. appearing in the corners of the drawings others are noted with the letters "E.R." (Elizabeth Regina), while the last eleven drawings have neither "M.R." nor "E.R." upon them. In all cases the letters "M.R." and "E.R." arc in the handwriting of the person who wrote the names on the drawings. But as the drawings, as we think, were executed some time after, at all events, the first thirteen suits were made, too much stress cannot be laid on the letters " E.R." (letters which also stand for Edwardus Rex, i.e., Edward VI), and it is curious to note that there are in the Tower " portions of a crupper with vertical flutings and simulated slashings"^ as their decoration, The Duke which the author considered to be of the period of Henry VIII. of Norfolk suit, made at Greenwich, is seen in the drawing to have had a slashed decoration it is no longer in existence, and it may be, as the author thought, that these portions of a crupper were part of the complete armour which went with this suit; this slight evidence lends some support to the Holbein tradition, which is not the less tenable in view of the fact that Thomas Howard, Duke of Norfolk, was born in 1536 and beheaded in 1572. As we have said, the draughtsman used in all his drawings a common form for all the suits in which he depicted the different decorations, but it does not follow that all the suits were of the same form, and it is not unfair to assume that over the period which these harnesses covered some were of an
"
earlier form.
C.-D.]
each of the drawings is the name of a person for whom the suit In the first eighteen drawings the writing is in the same was made. hand, and on two of these drawings the .same writer made additional notes. On No. " 13," representing the suit of the Earl of Worcester, there is this
On
'
C. ffoulkes,
"
The Armouries
of the
Tower of London,"
vol.
IV
.5
i,
p.
207 (Class VI, No.
85).

"Thes peces wer made by me Jacobe," and on drawing No. "14" " This feld armor was of the first suit of Sir Henry Lee there are these words made beyond see" and "thes tilte peces wer made by me Jacobe." All these three notes are in the same handwriting as that of the names written on the
note:
:
drawings of the suits. That this Jacobe did not describe the ownership of all the armours may perhaps be explained by arguing that all the names were not written at the same time. Jacobe writes the name of Sir Henry Lee on the fourteenth suit (perhaps before 1580),' new drawings were added, and he writes "Sur Cristofer Hattone"on the first Hatton suit made in 1585, and again
describes the drawings until the nineteenth suit is reached. Then probably more drawings were executed another hand writes the description on suits numbered "20," "22," "24," "26," "28," and the Buckhurst drawing; still
;
another hand records the name on the suit numbered "21," and the author thinks that Jacobe probably wrote the descriptions on the suits numbered "23," "26," and those of "Sir Macke William," "My Lorde Cumpton," " Mr. Skidmur," and " Sir Bale Desena." The deduction we make is that
the book was after 1585 not under the sole control of Jacobe, and that at The handwriting of Jacobe is least two other persons recorded the names. of the earliest type of the three hands, and as the technique of the decoration
progressive in character, it seems that the order of the drawings a large extent the order of the manufacture of the suits they represent.
is
is
to
But the reader
will ask:
we know
was a there exists a document amongst the State papers dated 12 October 1590,^^ a letter of Sir Henry Lee, Master of the Armoury, which commences thus: " May it please your good Lordship in the time of M"". Secretary, who God hath latly called to his mercy, he was very desirus to prefere to the comodyty of some fewe as I take yt, certayne ierne metell w** grewe or was made in Scropshere or ther abouts in the possessyons of a gentellman whos name I knowe not, never makynge me acquaynted w''' his meanynge. To give more credyte to that staft"e, to the armourers of London & to Jacobi, the M' workthat there
"What had Jacobe to do with Greenwich? " Now master workman at Greenwich named Jacobi, as
man
of (irenewyche, the Counsel appoynt in there presence that M'' Robarte Constable my cossyn John Lee shoulde see a proof made w*' by tryall
&
proved most usefull."

is
On no
when we Armourers' Company (in whose records no name of Jacobe appears) issued regulations as to their mark of the Crown and the letter "A" underneath it.
not surprising
'
piece of the armour is there any mark; but this remember that it was not until 163 1 that the
And; page
''
4.
S. P. Doin., ccxxxiii, 92.

seems fair to argue that this Jacobi, the Master workman at Greenwich, was the same "Jacobe" who made the extra pieces for two of the suits illustrated in the MS., and that he may have had the drawings executed, and that when the drawings were finished he wrote on the first eighteen drawings the names of the persons for whom the armours were made. We have no evidence as to who the draughtsman was, and therefore no evidence that Jacobe was that person. But the existence of the MS., the
It
existence to-day of some of the suits, the preservation to-day of portraits and miniatures of the same persons wearing the suits whose names
appear on the drawings, the fact that there was a school of armourers at Greenwich from 151 1 until 1644 (the cost of which was defrayed by the State, and of which we have numerous records ^), form the links in a chain of evidence in
confirmation of the conclusion at which
illustrated in the
we
arrive, viz., that the harnesses
MS. were made by the Greenwich school of armourers. think that the draughtsman had in view the portraying of the decoration of the Greenwich school, which was peculiar to and evolved by
We
the Greenwich armourers.
It
may
be noted that in the case of the earlier
MS., two of which the draughtsman assigned to represent suits made in the reign of Queen Mary, this style is not yet distinctly marked. The Greenwich style of decoration first appears in a marked manner in the second suit' of the Earl of Leicester, and is fully developed in tho.se of the Sir Henry Lee No. 2 suit. Sir Christopher Hatton Nos. and 2 suits, the Earl of Pembroke's, and the Earl of Cumberland's suits; but it culminates in the beautiful suit of armour made for Henry, Prince of Wales, now at Windsor, which is illustrated and described in a later chapter,'-^ and is, in the author's opinion, the work of this school, and may have been the one for which William Pickering received the large sum, for those times, of ;^320. This Greenwich school of armourers no doubt learned their art from the numerous foreign armourers Flemish, German, or Italian who had been brought to England by Henry VII and Henry VIII but by the time of Elizabeth they had evolved a type of armour and decoration peculiarly their own, which, as we have already pointed out {ante, p. 2), is very distinct from the type and decoration of contemporary suits made in
drawings depicted
in the
i
Germany,
'
Italy, or France.
Cf. the
printed by Mr. C. ffoulkes

1916.
numerous references to the payment of wages to the armourers at Greenwich, in "The Armouries of the Tower of London," vol. pp. 50-52. London,
i,
See Chapter xxxvii, Vol.
v, F"ig.
1435.

As Jacobe notes t"hat he made the extra pieces of two suits, presumably he did not make the rest of these two armours, and there is no evidence that he made any of the others. There must have been other armourers, and who were they? The question cannot as yet be answered, and it is not likely to receive an answer until the accounts of the sums spent on armour-making at Greenwich are discovered. The valuable researches of Mr. Charles ffoulkes have brought to our knowledge the names of various armourers who worked
Greenwich as Queen's armourers under Mary and Elizabeth but no other details are known concerning them. They are: Nighel Pipe 1559, Hans 559-1 601, Jacob Mightner 1559-74, John Kelte 1559-74, John Garret Halore(?) 1559, Roger Keymer 1571, Jacob Haider 1574 (perhaps the same as Jacob Halore),Martyn Herste 1574, Caries or Tarys Spirarde 1574, John Kirke 1577, and lastly William Pickering 1591-1630, who, as we have .seen, probably made the armour for Henry, Prince of Wales, and who, judging by the very great similarity of style and of execution which that suit bears to some of the more elaborate ones mentioned above as full examples of the Greenwich school, may also have been the master armourer to whom some of the others were due. [As with other arts the problem is to discover whether the master workman Jacobe, or any other master workman, possessed and exercised individual initiative, or whether he was only a foreman of a body of more or less skilled workmen. The marked character of the armour under discussion shows such a personal quality of design that it would seem as if there had worked at Greenwich master armourers of strong individual taste. C.-D.] That some of the armourers who worked at Greenwich for over one hundred years were foreigners is more than probable, for the great craftsmen of these periods were Italians, Germans, and F"renchmen, and Mr. ffoulkes' list contains many names which are not English ones. As regards the name of "Jacobe," Sir Henry Lee writes- it "Jacobi." Sir Henry's rendering suggests that the final "e" was not a mute one. Now the German Jacob would not have become in English Jacobi, it would have remained as it was in German,
at
;
or "e." Jacob, without a final Jacobe was evidently not the Christian name of the Greenwich armourer, but his surname. Jacobi is a common surname in Germany; a cannon founder of Berlin who lived about 1700 was
i
"
"
named
and there are even arms-bearing families of that name. In France Jacobe exists as a surname, in Italy Jacopi. In the "London Directory" for 1917 can be found five Jacobis and five Jacobys living in London. It is probable that our Jacobe was of foreign extraction but we are inclined to think that he was British born. He writes his name 8
Jacobi,
;

Jacobs, that
Jacobi is pronounced in English. His handwriting is English in character. On the other hand, the expression. " " This feld armor was made beyond see on the drawing of Sir Henry Lee's first suit indicates a German writer, for "feld" and "see" are spellings one
is
phonetically as the
German
would attribute to a German. We cannot say that the phrase is more English than German.
"
beyond see
"
A
MS.
few other observations may be made of a general character on the Viscount Dillon shrewdly draws attention to a little brayette which
appears on most of the drawings, and suggests that it indicates a foreign origin for them; for in the time of Queen Elizabeth that defence was not in fashion in England, although its use abroad continued through the
greater part of her reign. It may be observed, however, that this brayette does not form part of the armour, but of the civil dress of the figure wearing it.
Again, the author would suggest that the various personages whose names occur in the MS. stored their suits in the Greenwich Armoury, where there naturally was a staff of skilled armourers to furbish them and keep
them
in order,
much
as people
nowadays keep
their
motor cars
at a garage;
that a written inventory probably existed, now unfortunately destroyed or undiscovered, in which the suits were entered in the order in which they
had been made or deposited

formed, in
extra
fact,
there.
The drawings
in
the
MS. may have
pieces
a sort of pictorial register, by which each suit and all its could at once be identified by the design and decoration
when needed by its owner, serving very much the same purpose as an Italian late XVIth century drawing of four breastplates in the collection
of
Monsieur H. Carre of Paris (Fig. 1099). Some of the Greenwich suits must have been returned to their owners and have remained in their possession; while others, such as the Earl of Leicester's, the Earl of Worcester's, Sir John Smithe's, and possibly Sir Christopher Hatton's first suit were removed from Greenwich, when that aimoury ceased to exist, and found their way to the Tower. In the Domestic State Papers for the year 1625 can be found a list of suits made for the king and certain noblemen, which were the productions of the Greenwich armourers. It runs as follows:
true note of
lately, viz.
all
:
such Armors as have been
made by
his Ma*""*armorors at
Greenewich
Imprimis for ye Kings Ma*'"" For ye Duke cf Buckingham For ye late Marquis Hamelton F"or ye late Earle of Dorset
.... ....
.
.
Tike Armors Tilte Armors

Tike
Title
2.
2.
1.
Armor
Armors
2.
For ye now Earle of Dorset For ye Rarle of Oxford For ye Lo. Garret *For ye Lo. Compton For ye Earle of Desmond For ye Lo. Mansfeelde For my Lo. Monioy *For ye Earle of Bedford For ye Lo. Stanhop For ye Lo. Bru For ye Lo. Gourdon For Sr Henrie Mildmay For Mr. Carle For Sr William Hayden for his For ye M"" of ye Armorie For Sr William Pitt For Sr Arnold Harbert For Sr Adam Newton For ye Barron of Burford
. .
.
....
.....
Ma*''''*
Armor i. Armor more for ye feelde Armor Tilte Armor i. Tilte Armor i. Tilte Armor i. Tilte Armor ... more for ye feelde Armor Tilte Armor ... more for ye feelde Armor feelde Armor i. Tilte Armor i. Tilte Armor i. feelde Armor i. Tilte Armor i. Tylte Armor i. s'vice at S' Martin islands feelde Armor 4. feelde Armor i. feelde Armor i. feelde Armor i. feelde Armor i. Tilte Armor more for ye feelde Armor
Tilte Tilte
i
.
. .
i.
i.
i.
An An
order for making a order for making a

of these were
tilte tilte
Armor Armor
for ye Lo. Marquis Hamilton, for ye Earle of Northampton,
i. i.
Some
made by ye King's Ma'"''* coiTiaund and some by the Lo. Chamberand ye rest by comaund from ye Master of his Ma''^" Armoury. lins comaund, Besides other new armors and worke that is ready in the Office upon anie occasion.
This list shows the importance of the productions of the Greenwich armourers in the latter part of the XVIth and at the commencement of the XVI Ith centuries, and of the existence of suits in stock in case a person
It will be noticed, however, that two of the purchase one. names figuring in the 1625 list appear in the illustrated MS., viz.: "Ye Tilte Armor i," and "For ye Earle of Bedford Lo. Compton If these two suits are the same two as those illustrated in the feelde." MS., then a second MS. must probably have once been in existence perhaps with an illustrating the remainder of the suits mentioned in 1625 index which would have thrown some light on this mysterious group of armour
desired
to
and
its still
more mysterious maker or makers.
The Invent ario de la Arineria

is
an instance of a pictorial inventory of an armoury, in which armour and weapons of various origins and dates are all drawn by the same hand, with notes here and there concerning them.
de Valladolid o{ Charles V, preserved at Madrid,
10
/'
ji"**
.v-
'-<'
-ft
'î'^
rl
Â
-Ji
'
{>
Fig. 1099.
Of the
latter part
Four breastplates, from an Italian drawing of the XVIth century. Made only to record the design of the armour
Collection: Monsieur H. Carre
I I

Herr Wendelin Boeheim thought that Jacobe could be identified with an armourer of Innsbruck named Jacob Topf, concerning whom he had made researches which had led him to suspect that from 1562 to 1575 he was absent from Innsbruck, and Viscount Dillon, although feeling that
late
The
about dates, adopted that identification. As a result, the Viscount's book was called "An Almain Armourer's Album," and of late years we have heard much of Topf suits, meaning those suits still existing in England which have been identified as having been portrayed
there were
some
difficulties
in the
years doubt has arisen concerning the correctness of this identification of Jacobe with Topf. ourselves think not only that this identification was never established, but that it never at any time rested on
MS. Of late
We
any serious foundation.

are indebted for
at conclusions arrived at
Boeheim was a savant

;
to
whom
armour-students
to
much excellent work but he was very much given

on
insufficient evidence, or
jumping
on evidence incorrectly interpreted, and he was disinclined to discuss a view differing from his own. Having mentioned all that is known about Jacobe, we will now briefly state what Boeheim discovered concerning Jacob Topf. He was born in 1530, and is thought to have been absent from Innsbrtick from 1562 until 1575, in which latter year he received payment for work done in that town. In
1581 he was in the employ of the Archduke of the Tyrol; but payments are recorded for work done by him in Germany in 1578, 1584, and 1587. After
and Boeheim supposes that he died in 1587.1 There is a strange confusion in the account of Topf given in this book between Jacob Topf and a Caspar Topf. The account is headed Jacob Topf auch Topff itnd Dopf, and begins with Jacob, but it eventually deals with Caspar Topf as though he were the same man. We can only suppose that some part of the account was omitted by mistake. " If Jacob Topf really died in 1587 his identity with the Jacobi" mentioned in Sir Henry Lee's letter would at once be disposed of It is true that Sir " Henry says that the trial of iron was made in the time of Mr. Secretary who God hath latly called to his mercy." Mr. Secretary was Sir Francis Walsingham, Principal Secretary of State to Queen Elizabeth, who died on 6 April 1590, six months before the letter was written; but the letter certainly gives the impression that Jacobe was living and working at Greenwich when it was indited. Viscount Dillon, in his introduction to his Album,
that
we hear nothing more
of him,
'
Wendelin Boeheim, Meister der Waffeitschniiedekunst vovt
XI V bis
ins
X VllI Jahrhtindert,
Berlin, 1897, 8vo, p. 217.
12

speaks of the
P)Ut Sir
letter as referring to a trial of iron
made some ycays previously.
of the matter as one of present interest, and as if the trial might have taken place a few months before; but there is not the slightest ground for supposing that it took place several years before.
Henry speaks
Roeheim could adduce no evidence

tf>
to
show where Topf worked from 1562
1575- He merely jumped to the conclusion that he might be the Greenwich Jacobe, a conclusion which the author considers to be erroneous.
[It is fair to
bears w hat
we
note that the drawing of Sir Henry Lee's first suit (No. 14) have called the Greenwich style of decoration, and that it was
see,"
not unreasonable to infer that the suit was decorated in the manner desired by Sir H. Lee, and that his order passed through the master armourer at Greenwich. Of the form of the actual suit
made
"
beyond
but
it
is
evidence, as it no longer exists.] One or two suits of armour at Vienna are attributed by Boeheim, and probably rightly so, to Topf; but they do not present any resemblance in general character and decoration to those which we call Greenwich suits, of which a sufficient number remain for
we have no
us easily to recognize their characteristic style. [It cannot be said that we know much about this Greenwich school of armourers, but there can be little doubt that in the Record Office is stored
much documentary evidence with regard to the yet but little studied history of the armour made at the Greenwich State workshops, in which Henry VIII
and the great nobles of the time took such a deep interest. When the reader has read this account of the Greenwich armour, he may well ask: "Where are all the armours which were made at these workshops from the year 151 1, VIII founded it, down to the period of the fine decorated suits, when Henry which still exist, and which we can identify as the productions of the workshops between the third quarter of the XVIth century and the end of the first quarter of the XVII th century? We know that the Greenwich armourers used no mark, but are we not almost forced to assume that amongst other harnesses from Greenwich some must have been fine suits made for Henry VIII? The author has dealt at length with the double suit of Henry (Vol. iii. Figs. 1023 and 1024), and, in his natural endeavour to attribute this suit to a school, has given his reasons for suggesting that it was perhaps made in France and presented to Henry VIII by Francis I (vol. iii, page 230). The expert is asked to reconsider this attribution. Its quality is of the finest, so is that of all the Greenwich suits which we can identify; its general form is to be compared with the earliest of the Greenwich suits; the elbows-cops of two pieces arc c(|ually characteristic, so are the close helmet D IV 13

and the gauntlets. The brayette (\'ol. ili, Fig. 1026) is more like a piece of Greenwich armour than that of any other school. Sir Guy Laking suggests that the suit for fighting on foot, in the Tower (Class II, No. 6), which was made for Henry \TII, is English (Vol. iii. Fig. 1018), showing traces of German influence "adapted to a fashion that might almost be considered English" {ibid., p. 225); similarly he attributes probable English workmanship to the .second suit for fighting on foot in the Tower (Class II, No. 7), illustrated in vol. iii of this work (Fig. 1020). There are other fine armours in the Tower bearing no mark, the workmanship of
which, up to the present, has not been assigned to any particular nation,
some
Guy Laking thought may have come from the Greenwich workshops. It is suggested, therefore, that we need not limit our ideas of Greenwich armour to the suits which we are about to describe in detail, but that we may by careful study of much other armour which exists, covering the whole period of the reigns of Henry VIII, Edward VI, Phillip and Mary,
and James the Greenwich school.
lilizabeth,
of which Sir
perhaps C.-D.]
I,
attribute
its
provenance, in
many
cases, to
The following
the
MS.
gives the complete series of the armours illustrated in and shows which of the suits illustrated are now in existence.
list
,.
.
NaMKS AND NUMDKRS ON TIIeDraWINCS OK THE Armours in the ..^ MS.

1.
Prksent Locations of the Armours
3.
The Earle of Rutlande (IM.R.) The Earle of Bedforde (M.R.) The Earle of Lcs.seter(ist suit)
.
Not known.
do.
4.
The
(E.R.) Earle of Sussex (I'Mi
do.
)
. .
The
<rauntlets
8.?.
;^66
were sold in the Spitzer Sale for and are now in the Riggs Collection,
Metropolitan Museum of 100 and 01).

I I
1
New York
(Figs.
5.
Ducke John of fifinelande Prince of Sweden (E.R.)

Ser William Sentlo (E.R.)
.
.
Not known. Not known.

do.
7.
8.
My
The
Lorde Scrope
(I'^R.)
Earle of Lesseter (2nd suit)
(^-''^)
......
.
.
portion of a suit very similar is in the Tower of London, certainly from the same hand, varying a litde, but only in the position of its
decoration (Fig.
9.
10.
102).
My
.Scr
Lord Hundson (E.R.) George Howarde (E.R.)
Not known.
do.
14

Names and Numbers on the Drawings OF the Armours in the MS.
1
Present Locations
oi-'
the Armours
1.
My
Lorde Northe (E.R.)
2.
The Duck
of Norfocke (E.R.)
portion of a suit very similar is in the Tower of London (Fig. 1105). Fragments of a steel barde, somewhat similar in
design, are in the
Tower
of
London
of the
period of
Henry VIII.
The
Earle of Woster (marked E.R. There is a note in " Tkes Jacobe's handwriting:
peces iver
made
by niejacobe ")
portion of this suit

(P"ig.
1
is in
the
Tower of London
107).
now removed by command
Formerly at Windsor Castle, but in September 19 14 to the Tower

of
H.M. The King,
are other
pieces of the suit consisting of a burgonet, buffe, breast- and backplate, gorget, taces,
tassets,and reinforcing breastplate (Fig.

14
109).
Ser Henry Lee
ist suit,
which has
the note in Jacobe's writing this eld armor was made beyond see,
e.\tra pieces
in
and the
note also
have the
Jacobe's writing thes
till peces ivcrc
made by mejacobe)
(ist suit)
Not known,
This suit which
is
16.'
Sur Cristofer Hattone

(E.R.)
Windsor Castle (dated 1585) with tilt pieces and portions very complete 1 of the horse armour (Figs. 1 1 13 and 14).
is
at
17.
The
Earle of Penbroucke (E.R.).
The
full suit is at
Wilton House (Fig.
11 16).
18. Ser Cristofer
Hattone (2nd
suit)
(E.R.)
Not known: but

longing to
1118).
it is
in
the vamplate ol a lance bethe Tower of London (Fig.

is in
19.
Ser Johne Smithe (E.R.)
portion of a suit
(Fig.
the
at
Tower
of
London
1 1 Castle, F"ormerly 19). but removed in September 19 14 to the Tower of London by command of H.M. The King,
Windsor
are other portions of the suit (Pigs. 1 20 and 1 The shield is in the Metropolitan 121).
1
Museum
20. Sr.
of
New
York.
this
Henry Lee, Mr. of tharmerie (2nd suit)
...
...
close helmet belonging to
suit
is
in
'
There
is
no
suit
numbered
15,
but there
is
no sign of any page being cut out, and
it is
probable that the
numbering was carelessly done.
16
ARMOUR OF IHE "GREENWICH" SCHOOL

Na.MKS AMJ NuMKIiRS UN THK DRAWINGS
oi'
Till':
Armours
in
the MS.
the
Present Locations oe the Akmouks
Tower
of
London
in
ing gauntlet
(Fig. 1 123), and a lockthe Hall of the Armourers'

11 24),
and Brasiers' Company, London (Fig.
the burgonet, buffe, chanfron, and leg-armour are at Stockholm (Figs. 1125, 1126, 1127,
and
2
1.
The
Earle of Cumbcrlandc
The
at
full
28). suit with certain reinforcing plates are Appleby Castle (Figs. 1132, 1135, ^"<J
II 36),
and gauntlets, Metropolitan

(Fig.
1
Museum
of
New York
Sr. Cristopfer
133).
Hatton (3rd Mr. Macke Williams

'
.
suit)
.
Not known,
.
do.
24.
My
My
L.
Chancellor {Sir
Thomas
do.
. .
Bromley)
i6:
28. Sir
Cobbun (Cobham) Harry Lea Mr. of the Armore

L.
.
do.
(3rd suit)
The
full suit is
at the Hall of the Armourers'
and
Company, London (Fig. 1 141). The buffe belonging to this suit was purchased in the Brett Sale, No. 729 in the catalogue.
Brasiers'
Previously
it.
was
in
the
Londesborough
My
Lorde Cumpton (Compton)
Collection (Fig. 1142). Portions of this suit were formerly at Holme Lacy and are now in the Metropolitan
New York, comprising the burwith buffe, pauldrons, arm-defences and gonet laminated cuisses with knee-cops (Figs. 1145
Museum
of
and
Mr. Skidmur (John Scudamore)
.
146).
The
back- and breastplate, tace and tassets of this suit, together with the jambs and imperfect sollerets, formerly at Holme Lacy, are now in the Metropolitan Museum of New
York
(Fig.
149).
My
Lorde Bucarte (Buckhurst)
The full
(Fig.
suitisatthe\VallaceCollection(No.435)
ii5i)'
^^''^'^
^^^^
reinforcing breastplate
Sr. Bale
'
Desena
:
(No. 434) and the stirrups (Nos. 436 and 437). Not known.
Macke Williams was nearly related to Richard Williams, who married the niece of Thomas Cromwell, Earl and took the name of Cromwell the great grandson of this Richard Williams was Oliver Cromwell. The drawing of suit number 25 has been cut out, but the drawing of the extra pieces of this suit is present, resembling in decoration the Buckhurst suit. The drawing of suit number 27 is missing, or suit number 28 has been carelessly numbered. The last four drawings of suits are not numbered.
of Essex,
'"
17

There
is
a suit at Vienna
made
for
Archduke Carl
Ilerr Bcxiheim considered to be
from Topf's hands, and
of Steiermark, ^\hich since, as \\e have said,
l-'iG.
1I02.
Armour or
Roisert Dudley, Earl ok Leicester, K.G. (1534-isSS;
English (Greenwich school), third quarter of the XVIth century. Shown with its tilt pieces in position. The suit possesses its leg
defences, but they are not represented in this illustration Tower of London, Class 11, No. 81
Topf and Jacobe were

propose
for
until recently considered one and the .same person, \\e of compari.son to illustrate this harness purposes (Fig. 1154). 18

will briefly review those pieces of the Greenwich school at present known to us takin^Q^ them in the order of the list.
We
that are
-{'
The gaunt lets fyoni the arnio/if of Thomas Rateliffe, Earl ofSussex, K.G., 1525-83. no^v in the Riggs Collection, Metropolitan Museum of New York 100). They once possessed finger plates; but these are now missing. (Fig.
1
In the centre of the cuff of the

of a screw
,
left
gauntlet
is
a circular hole with the thread
which was fastened the large bridle gauntlet or mainfere. Fine etching and gilding decorate these gauntlets in accordance with the design in the MS. The illustrato
tion (Fig.
in the
loi)
is
MS., "The
*
the reproduction of figure 4 Earle of Sus.sex."

-
The armour of Rol)ert Dudley, Earl of Leicester, K.G. (1534-88), in the Tower of London (Fig. 1102). This does not exactly
correspond with the illustration in the MS.,
the
ragged staff being about the surface; but differently disposed
engraxing
of
the
"
"
most certainly
Piarl
this
armour was made

as
is
for the
of
Leicester,
evidenced
by the
Beauchamps, placed and charged with the crescent of cadency. In the drawing in the Jacobe MS. (Fig. 103) the Muzzled Bear appears on the elbow -cops and on the chanfron; in
saltire-fashion
1
Ragged
Staff of the
Fu..
10
The E.vki.k of Lessktek "

(second suit)
occurs frequently, as does Xo. 8 in the Jacobe MS. also the (ieorge of the Order of the (iarter. The absence of the latter from the suit drawn in the MS. is as peculiar as
the
suit
it
Tower
the presence of the engraxing on the Tower suit of the collar and badge of the Order of St. Michael, which limits the execution of the suit to the period 1566-88, and is exidence of the high favour in which the wearer was held by
is
the jealous Queen. which are seen in

sollerets.
The body
In place of the mail sollerets with toe-caps only of plate. the drawing, the Tower armour shows complete plate armour is quite complete; the horse armour extant com-
prises the chanfron and the saddle steels. The extra pieces consist of the grandguard, the reinforcing elbow-guard, and the bridle gauntlets.
19
Fig.
104.
The Earl of Leicester
From a
picture by F'ederigo Zuccaro. The Flarl is represented wearing a suit almost similar to that illustrated in Fig. 1 102. Collection: The Duke of Sutherland
20
Fig.
105.
Parts ok the armour of Lord North

Tower of London, 21
Engh'sh (Greenwich school), third quarter of the Class II, No. 82
The
IV
horse armour
is
associated.
XVIth
century.
Fig. II05A.
Burgonet
Belonging to the suit of Henry Herbert, Earl of Pembroke (1534-1601) English (Greenwich School), third quarter of the XVIth century Collection The Earl of Pembroke, Wilton House, Salisbury
:
22

This
Tower,
suit figures eight times in the inventories of c;reen\vich and the first in the 1611 inventory of "the greene gallerie, Greenwich": "one
Tylte armr compleate graven w"' the ragged staffe made for the Earle of Leicester the horse having a Steele sadlc and a foreparte of barbe plaine a Crynit and shaffron pcell guilte and w"' a hinderparte for a horse graven
made
of
plates
is
of
"Greene
the suit
(iallerie,
and a " Greenwich (as

Steele
bridle."
it
In
is
still
1629 inventory of the called) is the same entry; but
the
"upon
is
horse."
In the 1660 in"
ventory
it
at the
Tower
In the Hall of
entry is the same. In the 1676 inventory there is a " slightly different entry: Upon a like horse
the Leiftenn't of the Tower."
The
Compleat Armour Cappape w"' ye Ragged Staff w*'' a Main Guard and Pass-efuard
made
for ye
Earle of Leicester,
y**
horse
furniture being a shaffron Crinett and BrestIn plate of ye same, saddle and Raynes."
the 1683 inventory there is the same entry; but in addition to the main guard and pass-
guard there
is
allusion to
"a manifare and
gaunlet." In the 1688 inventory and valuation there is the same entry and a valuation
of the suit at ;^2o8. This is again repeated in the inventories of 1691 and 1693. From the year 1708 until the year 1827, despite
clear history, the armour was shown in the chronological line of kings as having
its
Fk;.
106.
1
1
"Mv LOkDK NOkTME'

in
No.
belonged to King James
I.
In a portrait of
1
the Jacobe
MS.
the I{arl of Leicester by Zuccaro (Fig. 104) the Earl is represented wearing a suit almost similar to the one we have described (Fig. 1102).
-*
all The armour of Lord North (Fig. 1105). probability many of plates placed upon the figure in the Tower of London Armoury are part of
In
the the
harness illustrated
in
drawing No.
11 in the
Jacobe
MS.
(Fig. 1106);
though
with the exception of the pauldrons, jambs, and soUerets they do not accord exactly with the design of the drawing. The plates which now compose the suit at the Tower are probably those interchangeable with them. They are
white armour with simple bands recessed and gilded.

*
23

The armour of the Duke of Norfolk
steel
(1536-72).
The two
pieces of a
bard forming the sides of the crupper (Class VI, No. 85), preserved in the Tower of London, perhaps belong to this suit. They are of the period of " Henry VIII. The drawing of the suit in the Jacobe MS. is numbered 12," and has a slashed decoration.
The armour of Williaiu Somerset, Earl of PVorcester, K.G. (1526-89). In the Tower of London is part of the suit (Class II, No. 83); there were formerly at Windsor Castle some other portions of the same harness which, by command of H.M. the King, were sent to the Tower in 1914 (Class II, No. 83A). The suit in the Tower (Fig. 1107), which follows closely the
drawing No. 13
following a burgonet with falling bufife, the whole 10 lb. 6 oz., a breastplate pieces: of 20 lb., a backplate of 20| lb., pauldrons of 14 lb. (the left still having its
(Fig.
in the
Jacobe
MS.
11 12), consists of the
upright neck-guard), complete arm-defences of 1 1 lb. 1 2 oz. gauntlets, large tassets detachable in the middle, complete leg armour, and plate toe-caps. These toe-caps have a square termination without any swell at the sides, as
;
is
the case in
some
No.
it
suits.
There
is in
the
Tower an
additional close helmet
(also Class II,
83),
a pin at the back of which passes through a hole in
the gorget fixing
This prevents any rotatory movement of the head-piece which would otherwise be possible by reason of the roped construction of its base. It weighs 14 lb. (Fig. 1 108). The Tower also possesses the chanfron of the horse armour belonging to the suit, and it is shown in
rigidly.
Fig.
107.
at
The armour formerly
Windsor
Castle belonging to this suit (Fig.
109)
consists of another breast- and backplate, gorget, tace, long tassets, and the open burgonet helmet with hinged cheek-pieces and protective buffe, armed with two falling plates. These particular pieces are interesting from a constructional point of view. The breastplate gussets, which are separate and attached
is
slightly peascod in form.
The
to
by sliding rivets, fail, however, continue to the upper corners of the breastplate, and stop abruptly within 1 1 in. of the upper edge to allow space for the fastening of the similar hinged steel-hinged strap that connects the back- to the breastplate. strap is attached beneath the arm gussets. In the centre of the shoulder-strap can be seen a small cylindrical projection, with a spring catch in the centre.
This was for the attachment of the pauldron; it passed through a hole in the topmost plate, and was by this means kept in position. Projecting staples are also seen on either side of the breastplate; these were for the attachment of the
24
Fig.
107.
Armour of William Somerset,

associated.
e:arl of
Worcester
(1526-89)
is
With the exception of the chanfron and
XVIth
crinet the horse armour English (Greenwich school), third quarter of the century. Tower of London, Class II, No. 83
25

half of Fig. 1 109. The tassets are reinforcing breastplate shown in the lower detachable at the third plate, an arrangement which made the plates hang better
when the wearer was on horseback, as can be seen in the case of the Tower suit. The open burgonet helmet, which is forged from one piece of metal, has a
finely
modelled comb; the protecting umbril

attached by rivets.
is
and
cheek-pieces small movable plate at their extreme ends; to this was formerly riveted the hooks fastened strap that buckled beneath the chin. The buffe is attached by to its side, which pass through eyes in the cheek-pieces; it is further held to in by means of an oblong slot working on a rivet fitted
rigidly position the cheek-piece. The
is
The
fashioned from another plate, are large and full, having a
additional
pieces
formerly
in
Windsor
Castle also
Fk;. 1108.
AniJiTioNAi. ci.osk iiiii.MET TO
Tiiii
SUIT (Fui. 1107)
Tower
of London, Class
II,
No. 83
included a reinforcing breastplate. The decoration of the w hole suit is simple, and very characteristic of work of this school, consisting of broad vertical
bands slightly recessed and incised with double lines and fully gilt. These bands are connected at intervals by narrower bands verging at right angles from them. The narrower bands are shaped to the outline of three crescents joined end to end, an arrangement which at a distance gives a scale-like appearance to the surface.
Windsor
plate
is
separately, the weight of the armour formerly at as follows: the burgonet 19 lb., the breastplate 9 lb., the back-
Taken
6.'
the tassets 261b., the e.xtra breastplate 10 lb., and the small reinforcing chin-piece i^ lb., making the extraordinary total of 81 lb. In connection with the great weight of this suit it is interesting to note that
lb.,
the gorget
lb.,
parts have been enlarged by the insertion of pieces of metal, although the cir-
26

cumference of the jamb on the Tower suit now measures only i6 inches and of the
ankle
to
in
One of the suits reputed have been made for King Henry VIII the Tower of London (Vol. iii, p. 224,
1
inches.
and ante, p. siderably more than this

Fig.
1
01 8,
14),
;
weighs conit is
but
a com-
plete suit. In the
Armoury of the Knights
of St. John, at Malta, there is a half suit made for the Grand Master Alof de
Wignacourt, early in the XVI Ith century, apparently for sapping purposes, of the great weight of 1 10 lb. It is No. 413 in the
author's catalogue of 1902.
From
London
did
1708 until 1827 the Tower of
portion of the Worcester suit duty in the line of kings for the
I;
I
armour of Edward
Ed^vard
'
Meyrick "blue steel armour with sjilt slashinefs one pas-guard and chain shoes." This
'
for according to Avas armoured in
the only suit in the Tower to-day to which this rather vague description might be said fairly to correspond; though the
is
surface of the
armour
is
certainly
not
but has been scoured "white." In John Hewitt's mid-XIXth century catalogue of the Tower this armour is referred to as that of Francis Hastings, Earl
blue
of Huntingdon. The portion of the Worcester suit formerly at Windsor Castle
now
used to figure under the heading of the

Fig.
1
109.
Part of the suit
(Fig. 1107)
Made
lish
William Somerset, Earl of Worcester. Eng^Greenwich school), third quarter of the XVIth
for
century. Formerly in the Armoury of Windsor Castle, but removed to the Tower of London in 1914 by
Fig.
command
of
II.
M. the King (Class H, No. 83A)
U09
27

armour of the Black Prince.
of Beaufort, there
is
At Badminton,
in the collection of the
Duke
a contemporary portrait of the third Earl of Worcester wearing apparently this armour (Fig. iiio), also an engraving taken from a variation of the same portrait, in which the suit in question is even more
clearly
shown
(Fig.
nil).
The
extra
pieces
of
this
suit
are
especially
Fk;.
mo.
roRTR.viT OK AN
artist,
Earl OF Worcester
Beaufort,
By an unknown
Collection:
wearing the armour (Fig. 1107)
The Dulie of
Badminton
interesting because the
drawing of them
*
in the
Jacobe
MS.
is
signed: thes
peces wer
made by me Jacobe.
*
( 1
*
1
,
The armour of Sir Christopher Hat ton 540-9 ) now in the Armoury Windsor Castle (Fig. 1 1 13). The decoration of this suit follows closely that
the drawing,
"
of
of
Sir Christofer Hattone," No. 16 in the Jacobe
MS.
(Fig,
1 1
15).
28

Considerable mystery surrounds the past history of this suit, and despite the no satisfactory account can Be given of it for the tradition most careful research,
;
as to
its
provenance
of the
pul)lic
Dymock
contradictory. Until 1877 the suit family, the hereditary champions of

is
was
in the
It
possession
its first
England.
at the
made
reappearance
in
1857,
when
it
was exhibited
Manchester Art
h'u..
1.
From an engraving taken vrom a variation

OF THE portrait
(FIG.
I I
lO)
Treasures Exhibition by Sir Henry Dymock of Scrivelsby Court, Lincolnshire. " It was then noted by Mr. Planche that the horse armour belonging to the suit
the Queen, and has been graciously sent from Windsor for exhibition, whilst a second plate from the saddle is lent by Colonel Meyrick." Twenty years after, in July 1877, on the death of Sir
is still in
the possession of
Her Majesty
Henry, the
IV
suit
was
offered for sale at Christie's, the following being an
29

catalogue. "The cap a pie suit of armour of an officer of the Guard of Queen Elizabeth, engraved and gilt with the double E interlaced and the Royal crown, a figure of Mercury, trophies of arms, etc.,
extract
from the
sale
date 1585, consisting of helmet, with visor and bevor, pauldrons, rerebraces,
vambraces, elbow pieces, and gauntlets, breastplate and placket, backplate, tassets, cuisses, knee-pieces, jambs, sollerets, and spurs. The gorget of .later date. Used by the Champion at the Coronation of King (ieorge I., when it
was
selected
from the Royal Armoury
for that
purpose and retained by
Fk;. 1112.
"Tn-E Earle OF
in the
Woster"
No. 13
Jacobe MS.
him as customary fee." At the sale the reserve price of was not reached, and the suit was afterwards disposed
Mr. James Gurney, who, after keeping
it
;^"2,ooo placed upon it of privately to the late
for .some little
time, sold
it
with
other portions of his collection of armour and arms to the late M. Spitzer of Paris. On the death of M. Spitzer, at the sale of his collection in
1894, it the sum
was again offered for auction, but again bought in, not realizing M. Mannheim, the Paris expert, considered it to be worth. For
nearly six years it remained in the possession of Madame Spitzer, until the late Sir Charles Robinson, realizing the historical value it possessed for the
30
Vu,.
113.
is
AkMOUR
Ob Sir Christopher
Hatton
(1540-1591)
1
The
gorget
associated.
English (Greenwich school), and dated H.M. The King, Windsor Castle
585.
31

Crown, made
efforts to
find a
permanent home
for
it
in
this
country by
interesting himself in a
scheme
eightieth birthday. However, t)rganization of the subscription list, the project for purchase fell through for the time, and was only taken up again in the early months of 1901, when the late Mr. Charles Daxis made strenuous efforts to obtain the suit as a
for presenting it to Queen Victoria on her owing to certain difficulties that occurred in the
national possession for England, with the result that a subscription list was opened, the project was placed on a sound and patriotic basis, and the suit was purchased and presented to His late Majesty King Edward by a
VH
of gentlemen, who, contributing liberally towards the sum required, kept the suit in the country and prevented it from being sold to some continental museum or private collector. The tradition handed down in the
number
family was that this harness originally came from the Tower of London, and that it was retained by them as the customary fee together with a gold cup, the Champion's legitimate perquisite. This tradition, however,
Dymock
certainly inaccurate; for in the Court of Claims no mention is made of the armour in which the Champion is clothed, the only perquisite mentioned being the gold cup in which the health of the king is toasted. Another misis
catalogue at the time of the sale of the suit at Christie's, was that the suit was worn at the Coronation of King George I. Now it is on record that at the Westminster Hall ceremony Dymock the
in the
statement which was
made
Champion wore
without doubt
is
the suit with lions from the the suit

still
Tower
(Class
H, No.
90),
which
XlXth
of
century Mr. John
King (jcorge
there (Vol. iii, Tig. 1061). In the middle of the Hewitt records that the Champion at the Coronation
suit
wore the
made
for Sir
John Smithe (then
called that
of Robert Devereux, Earl of Essex), which is in the Tower (Eig. 11 19); but we are unable to find his authority for this statement. The record of the Champion's armour worn at the banqueting ceremony of King George HI
missing; but on the last occasion on which the Champion ceremony was performed (the Coronation of King George I\^) the Dymock of the time was arrayed in a suit of fluted Maximilian armour hired for him for the occasion
is
from a Mr. Gwenap, who had a collection of armour on view about that time in a shop in the Opera Colonnade, Pall Mall. Now if the Hatton suit was actually worn at the coronation of one of the Georgian kings, it must have been at that of King George HI. But there are two serious objections to be made to this theory. In the first place, as we have said, the record of
the
armour worn by the Champion at this particular coronation is lost. In the second place, if the Hatton suit were taken from the Tower and worn on
32
Fig.
114.
Extra i-ieces 15Elon(;ing to the Chkistopiier Hatton suit (Fig. ii 3)

i
(rt)
(c)
Reinforcing breastplate. Reinforcing bevor.
(b)
{d)
The
Reinforcing chin-piece. chanfron.
H.M. the King, Windsor Castle
33

why was it not returned as were the suits worn on previous coronations? The question, of course, is whether this suit was ever actually in the Tower Collection. Viscount Dillon thinks not, and we cannot even
this occasion,
Windsor, certainly not after the XVIIIth century; though parts of the horse armour belonging to it, consisting of the chanfron and the saddle steels, were there in 1901. A few words must be added as regards the bringing together of the two pieces of the cantle steel of the saddle for previous to 870 only one half of the cantle steel was at Windsor. The other half was early in the XlXth century at the Tower of London; but owing to the stupidity and neglect displayed by the Tower authorities at that period, it might have been lost sight of had it not been for the vigilant eye of our first English armour collector. Sir Samuel Meyrick. This half cantle plate was, to use Sir Samuel's own words, "sold as old iron with other pieces from the Tower of London." Sir Samuel purchased it, placing it in his fine collection, where it received the admiration
admit that
it
was
at
it
" deserved, being illustrated in Skelton's Engraved Illustrations (Vol. ii, Plate CXXX). Many years after, the Meyrick Collection was sold in sec-
"
day on which by Messrs. Christie, Mr. Pratt submitted this half cantle steel for auction along with other armour and weapons from his collection. It sold for 2.^ 45., and was, with great judgement, bought for the Royal Collection, to be once more placed in the Guard Chamber beside its companion plate and chanfron, after a separation of seventy-five
Street.
tions to Mr. S. Pratt of
Bond
On
17 July 1877, the very
the Hatton suit
was
offered
for sale
years.
need hardly be remarked that until the re-discovery of the " Jacobe " MS. the Hatton suit was not known to have belonged to Sir Christopher Hatton, but was simply called "the armour of an officer of the Guard of
It
Queen
of
this
Elizabeth."
Its decoration follows that of nearly all the
known works
school, consisting of slightly recessed bands deeply etched with interlaced strapwork, etc., gilt. The plain surface in this case is a rich russet
brown, which causes the armour to be known in the inventories of the period " as purple armour." The suit has several interesting features. The breastof large proportions, strongly peascod in form, with two laminated plates at its base, and on the right-hand side four staples for the attachment of the lance-rest. The etching of the breastplate shows at the top of the central band the crowned double cipher of Elizabeth of two E's adosses; above
plate
is
strapwork panel containing the figure of Mercury, and at the base of the breastplate is an oblong cartouche with the date 1585. The same theme
this is a
34

of ornamentation
is
repeated on the backplate, to which
is
attached a small
are intact, and have each escalloped gariie-de-yein. uprij^ht shoulder guards attached by a hook and catch. The arms are complete with
turners, rere-
The pauldrons
and vambraces, elbow-cops, and fingered gauntlets. The
right
elbow-cop has a strong staple for the attachment of an extra reinforcing piece. The tace is composed of one plate, to which are permanently attached the large tassets of eight plates, which, however, could be shortened at the third plate by spring catches, the lower border being finished
by escalloping. These were complete without the five lower plates, and were thus worn when
the knight Avas mounted, as shown on the dummy now set up in the Guard Chamber
of
Windsor
Castle.
The
comparison with the cuisses being short and composed of three

plates,
legs are small in rest of the suit, the
knee-cops,
jambs
with
laminated
ankles, and square-toed sollerets. The helmet has a slightly roped comb which opens down the centre of the chin-piece; the visor and
mezeil are in two plates with triple ocularia; the longitudinal piercings for breathing purThe helmet is poses are in the mezeil.
hollowed at the neck in a rope design which should fit the top plate of the gorget and
give
free
rotatory
movement
to
the head.
Fic.
1
present gorget is merely associated with The extra arming pieces shown in this suit. our illustration and belonging to the suit consist
The
15.
"Sir Christofer Hat(first suit)
tone"
No. 16 in the Jacobe MS. of the reinforcing breastplate w hich, laminated at the bottom and decorated in similar fashion to the breastplate on the suit, contains on the right-hand side an oblong piercing, through which the
staples for the lance-rest could pass (Fig. 1 1 i4rt!), the reinforcing chin-piece secured by hinges to staples which are now on the helmet (Fig. 1 1 id^b), the extra
unprovided with piercings for sight or for ventilation of any description (Fig. 1114c); the bow and cantle steels of the saddle, and the chanfron (Fig. 1 \\d), are also happily preserved.
is
1
volant piece for the mezeil which
Ik
*
(i
The armour of Henry Herbert, Earl of Pembroke, K.G.

35
534-1 601)
Fig.
1 1
16.
The armour of Henry
Herijert,
English (Greenwich school), third quarter Earl of Pembroke, Wilton House, Sali.sbury
Earl of Pembroke, K.G. (1534-1601) of the XVIth century. Collection The

:
l2yL.
"
(Fig. 1 1 16). This suit is very complete, but lacks its tilt-pieces. It is believed to have been continuously at Wilton since the death of its original owner.
In the drawing, No. 17 in the Jacobe MS. (Fig. 1 1 17), it figures as white and gold, which is somewhat curious; for now the general effect is gold and faintly blue, and portions of the plain parts show the original brilliant blued surface
century date. At some period in the XlXth century it was subjected to what was then regarded as restoration, and at that time dabs of gold paint were put on those places where the original
which
is
assuredly of
XVIth
Fic.
"
1 1
17.
The Earle of Penbrouke "

removed
this
No. 17 in the Jacobe MS.
gilding had become a blemish.
little
thin, but judicious cleaning has
Wilton comprises burgonet and buffe (Fig. 1105A), full arms and fingered gauntlets, gorget, breast- and backplate, pauldrons, The general effect of taces, tassets, complete legs and sollerets, with spurs. the scheme of decoration resembles that on other suits of the same make. Between the vertical recessed bands of etching are S-shaped scrolls, placed end to end in continuous bands; while engraved on the upper part of the breastplate, as though suspended by a double cord, is the lesser George of the Garter. ^ IV
The
suit
now
at
37

The Garter and motto and
of the suit.
the arms of the family also appear on other parts
In the 1629 Greenwich inventory of "the greate chamber late Mr. Pickerings," is the item: "Diverse parcell of the Earl of Pembrokes armo'viz. one Tilte headpeece one Grandguard one Pasguarde one Mainefree
one Turning Gauntlett and one Shafforne." This entry figures in no other of the Greenwich or Tower inventories. We know from the evidence of the Jacobe MS. that the suit had extra pieces, and the right elbow-cop and
Fig.
1 1
18.
Vami'late of the lance
From
third quarter of the
the missing second suit of Sir Christopher Hatton. English (Greenwich school), XVIth century. Tower of London, Class III, No. 890
But as Wilton also breastplate show two places for their attachment. posses.ses the Earl's second superb plain Greenwich suit, the references in the inventory may be to this plain harness.
The second suit of Sir Christopher Hatton. This armour
is
illustrated in
drawing No. 18 in the Jacobe MS. The only fragment of this suit of which we have any knowledge is the vamplate of a lance preserved in the Tower of London (Fig. 11 18). The gilding which covers the whole surface appears to
38

in the early years of the XlXth century. The suit of the Harl of Cumberland (Fig. 1132) at Appleby Castle has almost the same decoration, as has also the small suit made for Henry, Prince of Wales, at
have been applied
Windsor
Castle (Vol.
v, Tio-.
1435).
Fig.
119.
Armour of
Sir John Smvtiie or Smithe (i534?-i6o7)
With
the exception of the cantle steel of the saddle the horse armour is associated. English (Greenwich school), third quarter of the XVIth century
Tower
of London, Class II, No. 84
The armour of Sir John Smythe, or Smithe (i534?-i6o7). This suit is in the Tower of London (Fig. 1119), together with the other pieces (Fig. 11 20) which were formerly at Windsor Castle, and were removed to the Tower in
39
Fig.
121.
Extra
pikces belonging to
the Sir John Smythe or Smith e suit

(c)
(</)
(a) Pair of
{l>)
laminated cuisses and knee-cops.
The bow
steels of the saddle.
A
in
half chanfron.
morion helmet.
Formerly
the armoury of Windsor Castle, but removed to the Tower of London in 1914 by command of H.M. the King. Class II, Nos. 84B and 84c; Class VI, Nos. 51 and 116
41

this
same border
strapping.
is gilt
All the strapping a black pigment.
occupied with fine leafage. upon a granulated ground which is filled in with
is
The groundwork
panels of the breastplate are ornamented In the centre panel at the top there is a cross in the following manner. supported by two figures of angels; in the next panel there is a circular
The oblong
medallion containing a double Roman bust with the inscription running round it, fv'tvra praeteritis, as on the other breastplate of the suit (Fig. 1 1 19); while in the other panels throughout the suit emblematical female
figures of
Temperance, Victory, Strength, Truth, Faith, Fame, Chastity trampling upon Vice, Fame crowning Victory, and other
Justice,
Wisdom,
figures are repeated
many
times.
The
decoration of this harness
is,
generally
speaking, not in the
manner usually
associated with the
work
of this school,
being more restrained and simpler in its motives, resembling rather that produced by Wolf of Landshut. The circular shield belonging to this suit {post, which is in the Metropolitan Museum of New York, came p. 240, Fig. 1315), from the collection of armour and arms of the Due de Dino. In the 1901 catalogue of the Dino Collection published by the Baron de Cosson, it will be found described and illustrated, Plate II, No. D 4, not as belonging to the Windsor and Tower Sir John Smythe suit, but as being probably the work of Wolf of
certainly reflected in the style of the whole suit. In the 161 1 inventory of "Greenwich, in the greene gallery" is the " one armo"" compleate given by S' John Smith to the Kinges Ma'y viz entry:
is
Landshut, whose manner
backe brest Almaine Coller, Burgonett murryon sleeves of maile Steele for a sadle, shaff'ron a guilte Targett one pre of longe cushes one pre of shorte cushes a belte of crymisin velvett one pre of guilte stirropes and twoe case
of pistolles."
late
Mr.
In the 1629 inventory of " Greenewich in the greate chamber Pickerings," appears the same entry; but there is no mention
of the "belte of crymisin velvett" the 1660 inventory of the. armour
and only "one case of
pistolles."
In
"In
the
Hall of the Leiftennt of the

;
attribution of the pieces is recorded but there is an entry that might well refer to this same set of armour: "(23) Armour richly guilt and graven, consisting of a backe, breast, Cushes, a paire of Kneecaps,
of
Tower
"
London no
Gorgett, a pair of short Taces, one Burgonett with a Buffe, Murrion, one one." gauntlett and a shaffrone with a paire of guilt steeles for a sadle
. . .
In the 1676 inventory is the same entry. In the 1683 inventory this entry " Rich armour and parcells of Armour," disappears; but there are entries of
which group it is just possible that the portions of the suit which we are endeavouring to trace may have been relegated. In the 1688 inventory 42
to
ARMOUR OF THE "GREENWICH" SCHOOL and valuation an entry of " Curazier Armour Sanguin'd & parcell'd gilt, consisting of Back Breast & Taces, Pack* Gorg' Head?" ChinP" for y" mouth & Sleeves of Mai le the Sir John Smithe suit, which ;îoo." Perhaps this
is
.
.
.
is
by some oversight was not mentioned in the previous inventory; for the parts described tally in number, save that the extra pair of tassets, the chanfron, and the saddle steels are not mentioned. The suit is here described " as being sanguin'd." This we can only surmise had reference to the dark ground of the gilded and etched band with which the surface is enriched. Mention of the suit and of its valuation occurs also in the 1691 and the 1693 inventories. ^v^4 Now two of these entries, those of 161 1 and of 1629, contain two pieces of information
of the greatest interest. The first is that these particular parts of the Sir John Smithe
armour, enumerated in the inventories from which we have quoted, were given by its
owner
1 1
to
King James
the
I,
he retained a complete
19)
field
and, secondly, that harness (Fig.

pattern,
which is the Class II, No. 84 suit in the Tower. True this suit comprised no pistols, no stirrups, no shield, and only the front saddle
of exactly
steel.
same
Now
the inference to be dra\vn
is
that
when
XVIIth century a certain quantity of armour was despatched from the Tower to Windsor Castle this particular
late in the
panoply was selected to be sent for the express reason that it was known to have been
presented by Sir John Smithe to the King's ancestor, and was consequently the personal property of the sovereign. This knowledge of the provenance of the suit in question was probably traditional; for, as we have shown, there is no direct record of the suit subsequent to the
inventory of 1629. That one saddle steel should have been left behind at the Tower is not surprising. As for the shield, the pair of stirrups, and the at the time of pistols, it will be noted that they seem to have disappeared the removal of the panoply from Greenwich to the Tower; for they are not
enumerated
Doubtless they were all stolen. It was the author who, when the shield was sold with the collection of the Due
in the
1660 inventory.
43

de Dino to the Metropolitan Museum of New York, recognized it as the missing "guilte Targett" belonging to the Sir John Smithe suit. From 1708 to 1827 the Sir John Smithe suit figured as the armour of King Henry IV in the line of kings. From 1827 to 1895 it was known as the armour of Robert Devereux, Earl of Essex, for which attribution, we need hardly say, there was no authority. It was only through its identification with the suit represented in the Victoria and Albert Museum MS. of
drawings that it was at last credited to the ownership of its original wearer. According to Hewitt it was the suit worn in the Westminster Hall ceremony at the coronation of King George II {cf. vol. iii, p. 300).
-*
,-*
The second suit of Sir Henry Lee, K.G., Master of the Armouries Of this armour are preserved in the Tower of London the (1530-97).
helmet (Fig. 1123), the right-hand locking gauntlet, the property of the Armourers' and Brasiers' Company (Fig. 11 24), the burgonet (Fig. 11 25), the buffe (Fig. 1 1 26), the chanfron (Fig. 11 27), and the leg armour in the
Lifrust-Kammer, Stockholm (Fig. 1 128). The drawing of the suit and extra pieces in the Jacobe MS. is numbered 20 (Figs. 1129 and 1130). This suit, which is perhaps one of the most sumptuous of this series of armours, was originally russet coloured and gilt, with broad slightly recessed bands of ornaments connected by a kind of slashed decoration reminiscent of
the Jacobe drawing we see in the centre of the breastplate the design of a bird standing on the Staffordshire knot. Viscount Dillon states that there is no doubt that the MS. "imperfectly shows the crest of Sir Henry
some earlier style. In
Lee as used by him before 1597 it is a laneret preying on the leg of a heron." The most important of the extant pieces of the second Lee suit is the close helmet, which in form exactly resembles that on the Hatton suit. In Grose's "Treatise on Ancient Armour and" Weapons," published in 1785, two views of this helmet are engraved on plate 10. It was then the property of a Mr. Rawle. It weighs 8 lb., and still retains much of its original lining. This helmet was purchased by the Tower authorities at the Bernal Sale in
;
1855 (Lot 2701) for the sum of _;!^28. The gauntlet for the tilt, in the possession of the Armourers' and Brasiers' Company, was, together with the other Lee .suit (Fig. 1141), presented to that Company in 1768 by Mr. William Carter, a member of the Court. The gauntlet, which unfortunately has been
is ornamented like the rest of the extreme length when open is 13I inches, the width across the opening for the hand is 5f inches. When the gauntlet is closed 44
subjected to very rigorous overcleaning,
second Lee
suit.
Its
ARMOUR OF THE "GREENWICH ".SCHOOL

upon the hand, and secured by a staple, only a small opening remains, from which the sword, lance, or mace could not be forced from the holder's grasp. This locking device gave an unfair advantage over an adversary in the
Fig.
1 1
27.
Tin;
Chanfkon
cjuarter
From
the sccund suit
of the
made for Sir Henry Lee. English (Greenwich school), third XVIth century. From a photograph courteously supplied
by the Baron Rudolf Cederstrom. Kammer, Stockholm
Lifrust-
tournament, and therefore the use of this kind of gauntlet was not allowed in certain tourneys in earlier days. From this circumstance, it has been termed
forbiddeii gauntlet." Many examples exist. With reference to this type of gauntlet the reader is referred to the Royal Ordinances drawn up by John
"
47

and dated the 29th of May, 6 Edioani IV\ Tiptoft, Earl of Worcester, " The ordinances, statutes and rules, made by John Tiptofte, Erie of Wor-
FiG.
1 1
28.
Leg Armour
Lee.
From
the second suit
made
for Sir
of the
XVIth
century.
English (Greenwich school), third quarter Henry a photograph courteously supplied by the Baron From
Rudolf Cederstrom.
cestre.
Lifrust-Kammer, Stockholm
Constable of England, by the Kinge's commaundement, at Windsore, the 29th day of May, anno sexto Edwardi quarti, and commanded to bee observed or kepte in alle manner of justes of peaces royall within this
48

realme of England before his highnesse, or lieutenant by his coniniandement or license, had from this time forth, reserving aluaies to the Oueene
and
to the ladyes present, the attribution and gifte of the prize to be attributed for their merites and demerites according to the articles ensueinge."
Among
the rules
is
one relating
to
the
"forbidden
naturally having reference to a gauntlet of the
XVth
though century type: "Item,

gauntlet,"
Fig.
No. 20
in
Sr Henry Lee, Mr of Tiiarmerie" (second suit) the Jacobe MS. The drawing shows the close helmet the Tower and the leg armour at Stpckholm
"
1
129.
in
he that shall have a close guantlett or any thinge to fasten his sworde to his hands, shall have no prize." There are many manuscript copies of this ordinance extant, and of these there is one in the Heralds College Library, apparently of the time of Queen
M. 6." The Ordinance and Rules have been reprinted in Cripps-Day's The 7'oitniainenf, Appendix IV, p. xxvii. There exists in the Nordeska Museum, Stockholm, a late XVI Ith century portrait
Elizabeth;
it
is
marked
"
49
Fig.
130.
Extra
pieces ok
the suit of "Sr HexNrv Lee,

No. 20
in the
Mr
of Tiiarmerie'
Jacobe MS.
The burgonet helmet; at Stockholm The buffe; at Stockholm {c) The locking gauntlet; Armourers' and {d) The chanfron; at Stockholm
(a)
(d)
Brasiers'
Company
50
ARMOUR OF THE ".GREENWICH" SCHOOL

of a Count Sten Bielka(Fig.
who, though wearing a short periwig and lawn cravat, is apparently armoured in the now lost second suit made for Sir Henry Lee. The suit is most accurately represented, and is shown
1
131),
Fig.
131.
From a portrait of Count Sten Bielka

The count
Lee.
is
Third quarter of thejXVIIth century.

suit inade for Sir
represented wearing the
now
lost
second
Henry
Nordeska Museum, Stocl<holm
to the waist, evidently painted from the actual armour. Since certain other is the likelipieces of this Lee suit are still to be seen in Stockholm, there
hood that even now the remainder of the suit may yet be discovered in some private Swedish collection. It would be interesting to learn how it came to
51
(I
Fk;.
Clifford, Earl of Cumberland, K.G. (1558-1605) English (Greenwich school), third quarter of the XVIth century. Collection: Lord Hothfield, Appleby Castle, Westmoreland
1 1
32.
Armour of George
{a)
Front view;
(/;)
Profile view;
{c)
First set of cantle steels for the saddle
So /*
f,,-
a
t>,ali.l^,
52
^'^'000 :o: o
^ '^Ci^
<x^
^^<^ y*n-Ar
/(/<L<,
'-i

XVI Ith century, have found and later to have been chosen as the Sweden, way military apparel which Count Sten Bielka is depicted in the late XVI Ith
pass that the second Lee suit should, in the
to
its
in
century portrait.
The armour of George Clifford, Earl of Cumberland, K.G. (15581605), in the possession of Lord Hothfield at Appleby Castle, Westmoreland (Im^. 132). The drawing of the suit (Fig. 1137) with the extra pieces is num1
bered 21 in the Jacobe
MS.
Fig. 1133.
Gauntlets
Fig.
I I
34.
UNKINISHED MEZEIL
suit.
The
pair now in the Metropolitan Museum, New York, which perhaps belonged to the armour of
From
the Cumberland
Tower
of London, Class III,
George
Clifford, Earl of
Cumberland
No. 86s
Of
all
these suits, with the possible exception of the Sir Christopher
Hatton suit at Windsor Castle, this is the most complete extant. It has never been removed from Appleby Castle, or entrusted to the hands of inexperienced or injudicious cleaners. The surface is what is usually termed russet; but it is better described as of a brownish-blue oxidization, which effectively relieves the gilded decoration. In the centre of all the pieces is a broad vertical band of gilt floriated scrolls etched, protected by being slightly recessed below the surface the conventional interlaced strapwork being raised and left in blue, thus contrasting with the gilded diaper groundwork. The double cypher of Queen
IV
53
Fig. 1135.
Additional parts for the suit
(fig. 1132)
Made
(a) {d)
for
George
An
Grand guard
Earl of Cumberland. English (Greenwich school), third quarter of the XVIth century close helmet (0 Reinforcing left elbow piece additional Vamplates for the lance
Clififord,
1 I
(e)
Reinforcing mezeil
Castle,
Collection:
Lord Hothfield, Appleby
Westmoreland
54

two E's adossds connected by two entwined annulets, is also blue, and shows out conspicuously from the rest; two of these monograms occur on all the of the suit; on each side of the vertical band are etched principal portions and gilt emblems of the Tudor family, two open cinquefoil roses with i\
Elizabeth, of
de-lis
between connected by true lovers' knots. A recessed and gilt border of roses inclosed in annulets runs round the and bottom of each piece, top and narrow vertical stripes of etched and gilded scrolls divide the
patterns';
e
c
fleur-
\
a
Fu;.
1 1
b
36.
a
for-
Additional parts
the suit
(fig.
132)
Made
for
George Clifford, Earl of Cumberland. English (Greenwich school), third quarter of the XVIth century
Saddle
steels
(rt)
(/;)
The chanfron
{e)
The crinet {d') The pair of stirrups

{c)
fourth vamplate for the lance
Collection
Lord Hothfield, Appleby Castle, Westmoreland

rivets,
with latten heads, which secured the linings in position. comparison of the details of this suit with those of the Henry, Prince of Wales suit at Windsor Castle (Vol. v, Chap, xxxvii. Fig. 1435)
in these
borders are the
reveals the fact that the pattern of the interlaced strapwork and of the gilt scrollwork is identical, the only variation being the monograms and the intro-
duction of the thistle of Scotland to
mark King James

55
I's
accession.
In Lord Londesborough's Collection were another pair of gauntlets that

may have belonged
to
this
Sale Catalogue (Lot 462) it Pembroke's sale in 1851; but on referring to the catalogue of that sale we can find no record of them. They are now in the collection presented by Mr. W. Riggs to the Metropolitan Museum of New York (Fig. 1 133).
Cumberland suit. In the Londesborough was stated that they were purchased at Lord
The Cumberland harness at Appleby Castle comprises the following pieces:
Fig. 1137A.
Fig.
1
George Clifford, Earl of Cumberland
137.
The Earle of cumberlande"

in the
"
From
a miniature ascribed by Dr. G. C.
No. 21
Jacobe MS.
Williamson to Isaad Oliver. Collection: Mrs. Sotheby, Exeter
a close helmet, a gorget, a breast- and backplate, the taces and tassets, and the complete leg defences inclusive of sollerets. It is interesting to note that the jambs, unlike nearly all those made by this aripourer, are not laminated
above the ankle, but are of one piece. The pieces for the tilt are an additional close helmet (Fig. ii35<7), a grand guard (Fig. ii35<^), a reinforcing piece for the left elbow (Fig. ii35<:), four vamplates for the lance (Figs. 1135^^ and 1 136^), and a reinforcing mezeil for the helmet (Fig. 1 135<?). The horse armour of the suit is the most complete in the series, consisting of two sets of bow saddle .steels (Fig. 11 36^), one set of cantle saddle steels (Fig. 1132^), 56

the chanfron (Fig.
(Fig. \\26ii).
ii36(^)
with small crinct (Fig.
1136c),
and the stirrups
The left gauntlet, which is missing, has been replaced by a left gauntlet of the suit (now at Windsor Castle) of Henry, Prince of Wales (Vol. v.
Fig.
138.
Portions of a suit ok armour

iii,
The chanfron belonging

land, K.G.
is
shown
in Vol.
Fig. iOl4<r.
Made
for
George
Clifford, Earl of
is
Cumber-
Probably English, by an unknown armourer.
The
Earl
wearing a
suit very similar in a family portrait at Appleby Castle. of the Earl by Isaac Oliver also exists in the collection of his Grace the Duke of Buccleuch in which he is represented wearing armour of a starred
represented as A miniature
decoration (Fig.
140).
Tower of London,
(^lass
[,
No. 85
Fig. 1435), of which suit the right gauntlet, once in the Meyrick Collection, is now in the Wallace Collection (Laking Catalogue, No. 668).
In the
suit,
on
it
an unfinished mezeil which appears to be a piece of this the rose :\.n(\ Jletir-de-lis are recessed, but no engraving has been
is
Tower
executed
(F'ig.
1134).
57
Q < J w
D
o J < w H
CO ON
^
<<J
o
.5
n! ^
"^
S C
'A
u
J3
ON
/5
Fig.
140.
In the costume of the Queen's Champion.
Miniature portrait of George Clifford, Earl of Cumberland By Isaac Oliver

is
The
starred
armour represented
:
similar in decoration to the
Collection
The Duke
of Buccleuch, through
Cumberland armour in the Tower of London (Fig. whose courtesy the miniature was especially photographed
138).
59

There
is
in
the
Tower
of
London armour
the
left
part of another suit of

(Fis;-.
1138) consisting" of
pauldron and brassard, right brassard, a pair of leg de-
fences (short cuisses, knee-cops, and jambs), the cuff from a gauntto be parts of a harness of this same Earl for
let,
;
and a chanfron said
the decoration closely resembles that of a suit he is represented
wearing
in
a portrait at Appleby
Castle in the possession of Lord Ilothfield (Fig. 1139), in a fine
miniature by Isaac Oliver in the

collection of the
Duke
and
of
Buc-
cleuch (Fig.
trait
140),
in a por-
engraved by Thomas Cock-
son {circa 1598), Fig. 1139A. Another miniature in the possession of Mrs. Sotheby (Fig. 1137A)
shows him wearing the suit of armour at Appleby Castle. As the

1605 the portrait is also remarkable as showing the use of a form of collar generally
fashion at a rather later period. The surface decoration of stars
in
F2arl died in
Fic.
141.
Armour of
Sir
Henry
Lee
linglish of the
(Tiin<D suit)
(Greenwich school), third quarter century. Presented to the Armourers' and Brasiers' Company by Mr. William Carter in 1768. In the Hall of the Armourers' and Brasiers'
XVI th
Fig. 1141
Company
60

shown
three of the portraits appears, however, in a somewhat different form on the armour in the Tower to which we are now referring. In the Museum of New York, are a pair of cuisses Riggs Collection, Metropolitan
in
and knee-cops, deeply engraved with large stars, showing a greater likeness to the armour worn in the portrait at Appleby Castle (Fig. 1 139).
*
TJtc tJiird suit
-*
*
(Fig. 1141).
of Sir Henry Lee, 1530-97
The drawing
Fig.
142.
BuFFE from the burgonet helmet ok the armour of Sir Henry Lee (fig. 1141)
Londesborough and
Brett.
E.\ collections
Now
in
the Hall of the Armourers' and
Brasiers'
Company
in the
Jacobe MS. (Fig. 1143). with the exception of the extra pieces illu.strated in the MS., is suit, in the Hall of the Armourers' and Brasiers' Company. It was presented to the Company together with the gauntlet (Fig. 1124) in 1768, by Mr. William Carter, a member of the Court. At the dispersal of the
of the suit
and extra pieces
is
numbered 28
This
Brett Collection in 1895, the

catalogue,
bufife
from the
lost
was very wisely purchased by the

its
burgonet, No. 729 in the Company for ,2^. Preit
vious to
IV
inclusion
(Fig.
in
the Brett Collection,

for
was
in
that
of
Lord
suit is
Londesborough
1142) and was sold
\^
195.
(Lot 126).
The
61

etched and gilt with knotted curiously decorated with narrow recessed bands, ornaments, introducing at intervals the pomegranate; while in the centre of
the breastplate can be seen the initials A. V., which probably stand for Anne Vavasour, natural daughter of Sir Thomas Vavasour, and Lady of the BedElizabeth. The "Dictionary of National Biography" chamber to
Queen
states that this lady
was Sir Henry Lee's
mistress.
In the
MS.
the details
of the pomegranate ornamentation are represented red and green, as though enamelled, a polychromatic decoration of armour which is rare, though not
Fig.
"
143.
Sir
Harry Lea,
No. 28
M"*
of the
Armore" (third
suit)
in the
Jacobe MS.
quite unknown. This colour pigment on the third Lee suit must have been in the medium of paint, and not of enamel. The suit as set up in the Armourers'
and Brasiers' Hall comprises a close helmet, complete arms with full pauldrons, fingered gauntlets, breast- and backplate, taceplate and short tassets, laminated cuis.ses, knee-cops, jambs, and sollerets. The whole suit is now
unfortunately overcleaned.
The suit supposed to have been made for Nicholas Christof von Radzivill, Duke of Olyka, once in the Imperial Armoury of Vienna, is similarly enriched with painted strapvvork in red, black, and white. No part of this suit is now
62

in
is
Vienna.
in
Its tilting salade is in the
Musee
d'Artillerie, Paris, the
chanfron
the
collection
of Monsieur Bachereau
Collection, Metropolitan
Museum
of
New
of Paris, and in the Riggs York, are a tilting shoulder-guard
and a saddle
steel
from the same harness.
Portrait of Sir James Scudamore (dated 1619) The armour depicted is apparent!)- the suit made for Henry, Lord Compton, of which are now in the Metropolitan Museum of New York. Unnumbered in the Jacobe MS.
Fig.
1
144.
parts
of Henry, Lord Compton (Pig. 1146). Portions of this harness are now in the Metropolitan Museum of New York. The drawing
The
iiynioiir
of the suit
is
entitled
is
"
My
in
Lorde Cumpton
"
in the
Jacobe
MS.
(Fig.
148).
This harness
shown
the
MS.
as a three-quarter suit of a blue or russet
63
Fig.
145

arrangements of broad vertical bands, containing curious etched and gilt ornaments, which comprise an interlaced thorn scroll, through which runs a zigzag line. The border ornaments are composed of a compressed serpentine band through which runs a narrower band parallel with the edges of the plates. We describe the detail of this ornament because of the confusing and
colour, with
contradictory evidence furnished by a portrait of Sir James Scudamore, dated 1 619, until recently in the possession of the Earl of Chesterfield, in which
the figure is portrayed armed in exactly the suit which in the MS. is ascribed to the ownership of Lord Compton (Fig. 1 144). For the time we must be content to accept the attribution given in the MS. about this armour, or at least what remains of it; for the Scudamore harness appears on the next plate in the MS. Of this Compton suit there are in existence to-day the following
pieces: the burgonet and buffe (Fig. 1145), the complete arms and pauldrons (as an instance of its clever restoration we illustrate the left brassard before
and
145 a, b), and the laminated cuisses and knee-cops. Excellent reproductions of the missing parts, consisting of the breastplate,
after restoration, Figs.
1
backplate, taceplate, tassets, and gauntlets, have been made by Monsieur Daniel Tachaux, the armourer of the Metropolitan Museum of New York,
in
order to complete the suit as shown (Fig.
146).
The
original parts of the
Compton
suit,
backplate,
gorget,
tace,
tassets,
jambs, and
together with the breast- and sollerets of the Scudamore
harness, came to light in 1909, when the contents of the manor house of Holme Lacy in Herefordshire were offered for sale by public auction. Holme Lacy was the seat of the family of Scudamore-Stanhope, a family now repre-
sented by the Earl of Chesterfield. From the " Bulletin of the Metropolitan
Museum
of
New
York," we by
to definite
permission extract the following:
"So
rare
is it in
these days to discover
armour which belonged
personages, that it is not here out of place to review as best we may the history of the present pieces. Probably they never strayed far from the home of their owner. They may originally have been mounted on racks or manikins
and were probably dismounted when Holme Lacy was remodelled towards the end of the XVHth century, at which time some of the most decorative pieces were hung about the house. In fact we know that they were displayed separately; for when the armour was examined, old wires were found in place by means of which pieces had been attached to pegs or brackets. Later on, the pieces were taken down, some were lost, the rest stored and forgotten. It was only in 1909, when the contents of the
after the prevailing fashion,
65
a
Fig.
1
b
146.
TiiL-.
Cumi'Ton suit as
Metropolitan
(rt)
now restored Museum, New York

{b)
Front view.
Back
view.
66

ancient
manor house were overhauled
for public sale, that all parts of the
armour
"
Lacy was rebuilt in the reign of Charles II, a part of the older buildint(, the 'Henry VIII tower,' remained untouched, where in the attic many objects had been stowed away for generations: here were found large decorative paintings, wood carvings from mantels and cornices, and stacks of Tudor doors. Under a litter of odds and ends stood a long chest and in this the armour was found packed away in a confused mass. Near by was a low window through which the rain had entered at various times, for the floor had rotted and the bottom of the chest had evidently been damp." This was clearly not the best storage place for armour, and one little wonders that some of the pieces had been greatly injured, especially at the points where they came in contact with the damp wood. In fact all the armour was sadly rusted, and evidently the first view of this collection of fragments roused no feeling of enthusiasm in the uninitiated. In the catalogue of the sale the lot was described in but few words; apparently none
of the auctioneers or of their advisers realized the importance of the find. Certain disagreements between the Earl of Chesterfield and the purchaser of the
that remained reappeared. It appears that when Holme
armour arose after the sale, with the result that a lawsuit followed which ended in a verdict that the armour should be returned to the Earl. It was soon after this that the Metropolitan Museum of New York secured
the objects privately at the instance of their late President, Mr. J. Pierpont Morgan. The armour purchased represented, as above noted, parts of two harnesses. Of one suit the head-piece was lacking, of the other the breastplate. In
both several plates were missing, as well as the gauntlets, the pieces were rusty, detached, broken, and needing for their restoration special technical skill. Fortunately for the Metropolitan Museum, Monsieur Daniel Tachaux, their skilled
armourer, was at hand to undertake the work of restoration, and the results have been excellent. At first it was thought that the suit had originally been given a russet colour over the bright areas, after the fashion of a number of but a more careful examination of the pieces showed that the armour was originally white, almost silver-like in its brilliant polish. This became clear when the helmet ^\'as taken to pieces and when various plates of
late harnesses;
on the inner plates of the elbow-cops (Fig. 1 147), the surface appeared mirror-like, as if it had come fresh from the hand of the armourer although over three centuries had passed. The restoration of the Chesterfield armour was of necessity a laborious task. The etched surfaces were carefully cleaned, and the rust was removed by brushing and by
arms and
legs
were unriveted; for
here,
67

the aid of a delicate burnisher, after a treatment with oils and alkali. Each tracery in the pattern, it was found, had to be cleaned separately. Then the rusted surfaces were polished, and the missing plates replaced by reproductions, etched and gilded. In all cases, however, in which a missing frag-
ment was
replaced, care
was taken
to engrave
upon the surface
of the plate

present writer, too, acknowledges his gratitude to Dr. Dean for having " Bulletin of the Metropolitan given him permission to extract from the " his interesting note describing how the armour was in the first Museum instance discovered at Holme Lacy. only offer one comment, and that
The
We
as to the probability of the suit having originally been white and gold. Dr. Dean's account of finding on certain permanently overlapping plates, when taken apart, a brilliant and originally burnished surface, seems
is
very
convincing.
But on the other hand
it
is
difficult to explain
why
in the
MS.
t'lG. II48.
MV LORDE CUiMPTON" The Jacobe MS.

Compton,
"
of w^hich the Metropolitan Museum suit is certainly part, is represented as purple or russet and gold; for the drawings are generally accurate as regards colour and decoration. Moreover, in the early XVI Ith century portrait of Sir James Scuda-
the three-quarter suit ascribed to Lord
which he is represented as wearing this armour, it is there painted purple and gold; while the suit of Lord Buckhurst, now in the Wallace Collection, which has an identical decoration both as regards colour and
more,
in
design to the Compton harness, still bears the colour as depicted in the MS. There is, however, an argument against the suit having necessarily been originally finished according to the drawing in the MS., and that is, that
IV
69
?"

\\
hile the
Pembroke
suit (Fig.
16) is
shown
as white
and gold
in
the drawing,
the suit itself certainly presents a bluish tone, and in certain places an original blued surface, so that the MS. is not always an accurate guide. brilliantly
The armour of Sir James Scndamore, John Skidmitr, or Scudanwr. The drawing of this suit in the Jacobe MS. is entitled " M'' Skidmur" (I'ig.
1
150).
is
Metropolitan Museum of New York. It a suit of white armour, decorated wMth narrow vertical bands etched and gilt.
This harness
is
now
in the
l'"i(,.
1151.
Armour
English (Greenwich school), third quarter (Laking Catalogue, No. 435)
Lord Jûckhurst of the XVIth century. Wallace

Or
Collection
72

or
The armony of Lord Bucarte {i.e., Biick/iii/'st, Sir Thomas Sackville as he was called before
being raised to the peerage), now in the armoury of the Wallace Collection, No. 435 (Fig. 1151).
The drawing "
Lorde Bucarte in the Jacobe MS. (Fig. 153). This harness was formerly in the Meyrick Collection and is " described and illustrated in Skelton's Engraved
of this suit
is
entitled
1
"
My
Illustrations," vol.
i,
Plate
XXIX.
In the catalogue
of 1870 of the Meyrick Collection it is stated that it was taken from the Chateau de Coulommiers en
FfG.
1
152.
Miniature portrait
Brie at the time that the chateau was dismantled
By
Nicholas Hilliard, of Lord Buckhurst. Collection H.M. the King, Windsor

:
Castle
during the French Revolution. The catalogue goes on to state that it is said to have belonged The author to the eighth Duke of Longueville. can find no account of the history of the suit from the time it was sold from the Meyrick
Collection until
it
passed into that of Sir
Richard Wallace. The edging of the suit is roped and its outline is followed by a row of brass-headed rivets one inch apart, to which
\\ere secured the lining straps.
The whole
decorated by bands and bordering, deeply etched and partly gilt with a scroll design, through w hich runs a zigzag
surface
is
richly
an eighth of an inch wide, the ground\\ork having been granulated and filled in
line
\\ith
a black pigment.
The edging
to the
design is three-eighths of an inch wide and contains a compressed serpentine line through which runs a line parallel with the
edging. The plain surfaces have been oxidized to a rich russet-brown. The suit now
consists of the following parts: the burgonet
head-piece with hinged ear-pieces coming well forward and hinged umbril; the skullpiece has a roped comb 2\- inches high; and
the umbril, which
is
Fig. 1153.
"
My Lorde Bucarte"
pointed,
is
pivoted
The Jacobe MS.
73

to the side of the skull in the
manner of a visor, and has attached to it a triple bar face guard, the bar of which is forged to a single plate hollowed out to receive the chin. This plate is secured to the umbril by the bars which conit,
and which in their turn are pierced at the top to receive a long curved staple which passes through them on the outside of the umbril holding the guard secure. At the bottom it is attached to the right cheek-piece by hook and eye. Over this, and fastening by two iron straps with hook and eye to staples on the cheek-pieces, is a buffe with a falling bevor of three plates, the top one pierced with four oblong apertures forming the ocularia. Both the burgonet and buffe have gorget plates attached; there is a cylindrical plume holder at the back of the skull. The gorget is composed of four plates. The breastplate, which is of peascod form, has a The lower edge of it is roped turnover and roped laminated gussets. finished in such a manner that, on removal of the taces and tassets, the breastplate was complete in itself, and could be worn with the puffed trunks or bombasted breeches as the fashion required. The backplate was secured to the breastplate by steel straps passing over the shoulders and beneath the armpits. These were held in position by attachment to staples in the breastplate, through the top of which passed pms. The tace is of one plate, to which are permanently attached by hinges the tassets of four plates. Both tace and tassets can be removed from the breastplate by means of a hook and eye, 3^ inches from either end. The pauldrons are of five plates, coming well forward and protecting the gussets. The top plate of each pauldron is embossed in front, in order that it may fit easily over the staples slightly and pin at the top corners of the breastplate. The arms are complete, comprising turners, rere- and vambraces, and elbow-cops. The gauntlets have fingers, the cuffs being pointed and bell-shaped; while the inside bend of the
tinue through
wrist
is
guarded by
five
laminated plates.
The
cuisses are
composed
of seven
laminated plates.
these are attached the knee-cops, small heart-shaped plates protecting the outside bend of the leg. The jambs are splinted and laminated at the ankle, to which are riveted to the heels spurs with
To
square-toed. Unfortunately, the reinforcing breastplate and a pair of stirrups shown beside the suit (Nos. 434, 436, and 437 in the Laking Catalogue) all the tilt pieces are now missing. There exists in the collection of H.M.
six
open-pointed
rowels.
The
sollerets
are
with the exception of
the
King
"
at
Windsor
my Lorde Bucarte," armour just described
Castle a miniature portrait by Nicholas Hilliard of in which he is represented wearing the identical
(Fig.
1152).
It
will
be noticed that the decoration
74
Fu;.
154.
Suit ok
Akmouk
Stated to
have been made for the Archduke Carl von Steiermark, dated 1582, and bearing the armourer's mark associated with Jacob Topf. Imperial Armoury, Vienna
75

of this suit bears a remarkable likeness to that on
the
armour
of
Lord
Compton
(Fig. 1146).
^
of the
We
terminate our already long survey
work of
this
school
by representing, simply for purposes of illustrated, that suit in the Imperial
comparison with those suits just
Armoury
of Vienna
which
Herr
Boeheim describes
1
as being in
154).
It
is
a full parade
probability the work of Jacob Topf (Fig. harness, the surface bright with broad bands
all
which are ornamented with engraving and gilding and

small silver pearls.
encrusted with
the interspersed designs can be seen figures medallion on the right cuisse thigh bears the date clad as foot soldiers. can only surmise as to who was the original owner of this suit. 1582. The suit was removed from the Arsenal of the Court of Graz to Vienna. It
Among
We
can be proved that Topf worked for the Court of Graz; so the theory that the armour belonged to Archduke Carl von Steiermark is at least plausible. Both this suit and a second harness in the Imperial Armoury of Vienna
are considered by the Vienna authorities to be Jacob Topf's work. Both bear little or no likeness to the suits we have described and illustrated as the
work
Greenwich School, save perhaps in the shape and construction of the lower part of the iambs, and in the formation of the sollerets.
of the
76
chaptp:r XXX
THE LATEST XVIth CENTURY SUITS OF CONTINENTAL MAKE DECADENT ARMOUR COMMONLY KNOWN AS "PISAN"
[E must
add a few remarks on those suits of the closing years of the XVIth century which constitute the continental but poor equivalent to the type which we have chosen to regard as English made armour. The armour to which we refer is the confinally
tinental stock pattern harness; like the products of the readymade tailor it might almost be described as "reach-me-down."
Known under the
heading of
parade harness traded in. throughout the closing years of the XVIth and the commencement of the XVIIth centuries. It is to be seen in every public and in most private collections, so that it must have existed in large quantities; even if complete suits are
rare to-day, individual parts are constantly coming into the market. Naturally it varies very considerably in its quality; for it is judged not so much from the actual shaping of the plates as from the quality of aqua fortis etching with
Pisan" armour, it must have been the universal The north of Italy exported it in very large quantities
"
which
lines.
it is
decorated.
first suit
This armour
is
usually
As
the
of this nature which
we
the simplest possible illustrate, we will take a really
made on
good and fine example of its kind, a work signed by an armourer of repute, though even in such an example the very scamped nature of the workmanship is at once apparent. The half-suit of armour we refer to is now in the Metropolitan Museum of New York, and was formerly in the Dino Collection. On the front of the breastplate is the signature pomp, which is that of an armourer of Milan named Pompeo della Cesa (or della Chiesa) who worked at the end of the XVIth century. Major Angelucci has found .several documents which prove that Pompeo della Cesa did work for General Alessandro Farnese and for (ionzaga, Duke of Mantua. In the inventory of the arms of the Duke of Infantado published at Guadalajara in 1643, to which we have already referred, a piece of armour is mentioned as being made by "Pompeyo," which
IV
77
.M

would prove
that this Milanese armourer's
work had
sufficient merit to
be
known
in
Spain, where
suits
Pompeo held an appointment

suits signed
at the
Court of Philip
III.
Complete
and parts of
by him are
to be seen in the Imperial
Fig. 1155.
Italian (Milanese), the
Suit of half armour
work of Pompeo della Cesa, about 1590- 1600 Metropolitan Museum, New York
Armoury of Vienna and in the Royal Armouries of Madrid and of Turin. The Tower of London possesses examples of this type of armour, so does the Wallace Collection. Pompeo often signed his name " PoMpe," and, as a
rule,
he put this signature at the top of the breastplate 78
the big M denoting
y/ioto^ya^h
lid.
Altnart
Fig. 1156.
Suit OF
Armour
North
Italian (Pisan school), late
XVIth
century.
79

his native city Milan. have said, since his own
He had many
work was
followers and imitators and, as we none of the best, it may well be imagined
that the productions of the copyists are the poorest possible examples of the
armourer's
craft.
If the suit illustrated (Fig. 1155)
be examined, the feeble
make
of the
armour
itself,
the undulations of
its
plate surfaces,
and the poorly fashioned
4k
DECADENT CONTINENTAL ARMOUR KNOWN AS

A
"
PISAN
"
the lance, which shows that the suit was essentially niacle for parade use. cabasset with ear-pieces forms the head defence. The bitten etchdeeply
representing Roman horsemen, allegorical personages, arms, musical instruments, and arabesques. On the top centre of the breastplate is a figure of the Virgin holding the infant Christ. The etching, richly gilt upon a background filled in with black
ing-
on
this suit,
though coarse,
is
effective,
pigment, taken in conjunction with the brightened bands that form j5art of the theme of decoration is, we admit, effective; but effect thus attained is meretricious, and the drawing of the various ornamental details is weak and decadent. The harness is, however, in a fine state of preservation, and retains
original velvet lining. Glued to the inside of the breastplate is a piece of paper, which gives a description in German of the armour, mentioning that it is alleged to have belonged to Francesco Foscari, Doge of
of
its
much
Foscari died in 1457, the German word angeblich (alleged) is not out of place; for the true date of the suit is about 1595-1610. The etching found on this type of armour takes various forms; generally it consists of vertical bands of various degrees of richness. show another suit selected
Venice.
As
We
from the Stibbert Collection of Florence (Fig. 1156) which, though perhaps a little composite, is certainly of better make from the point of view of actual armour. Here the etching is not gilded, but merely added to the bright ground of the armour, and filled in with a black pigment. The
design,
it
will
be
noted,
is
practically a
portions of figures, arms,
etc.,
meaningless conglomeration of which, viewed from a distance, has a spotty

in the
appearance, and which has led to its being called armour collector "Mops and Brooms" engraving.
vernacular of the
very readily admit that, despite the coarseness of this so-called Pisan armour, it must, in combination with the fine textile materials employed late in the XVIth century,
We
have had a really rich effect. Look at it, for instance, as it appears in two late XVIth century portraits (Figs. 1 157 and 1 158), or as it is depicted in our illustration of an arranged figure in the Stibbert Collection (Fig. 1159). The armour on this figure is, we must confess, a very clever example of reconstruction, and should prove useful to the student of costume; but from the point of view of serious study of armaments it is a restoration far too drastic to be
admissible.
century we will give, as we always endeavour to give, the illustration of a suit of armour, together with a contemporary picture of it. In this case, the repro-
To
complete our
list
of the full
armaments
of the
XVIth
duction
is
that of a picture in the
Louvre attributed
81
to
Amerighi, a portrait
Fig. 1159.
Ma.\N1:(2UIN IN
HALF ARMOUR
Of
the Pisan type, arranged with chain mail, old textiles, etc.
is
there described as that of Jean de la Valette, the Grand Master of the Knights of Malta, but which is in reality the portrait of the Grand Commander of that island, Jean Jacques de Verdelain. He is represented clad in a com-
which
82
Pkotoiraph A. D. Braun
et Cie.
Fig.
i6o.
Portrait of the Grand Commander of Malta, Jean Jacques de Verdelain Attributed to the painter Amerighi. The suit represented is that shown in Fig. 1161 Musee du Louvre
83
Fiu.
i6i.
Suit ok akmouu
Made
for the
Italian school, closing years of the
Grand Commander of Malta, Jean Jacques de Verdclain. North X Vlth century. Armoury of the
Kniyhts of
St.
John of Jeru.salem, Malta
84
DECADENT CONTINENTAL ARMOUR KNOWN AS
"
PISAN
"
plete suit of blue ami jjôld armour (Fiij^. i i6o). This actual suit of armour is now to be seen in the Armoury of the Knij^hts of St. John of Jerusalem, Malta.
Althoujj;^h the surface of the existing suit is
no longer blued, the gilding upon the deteriorating effects of the sirocco winds of Malta, is in a it, despite splendid state of preservation. Look at the illustration of the armour
(Fig. I i6i), and then look at its representation in the portrait: it will be noted that the armour coincides plate for plate, detail for detail, sa\e that the toe-caps.

and vambraces, elbow-cops, gauntlets that once possessed fingers, taces, laminated tassets, large and well modelled cuisses, knee-cops, and jambs. Around the lower end of the jambs are a series of small holes for the attachment of the chain mail soUeret, to which toe-caps could be attached, as seen in the Louvre portrait. The decorations consist of broad bands and circular panels, etched with Romanesque heads, trophies of arms, strap- and scrollwork, all or brightened field. Associated with one of the fire-gilt upon a "white" commoner suits in the same armoury, the author found a buffe (Fig. 1162) belonging to the Verdelain suit, a discovery which proves that it must originally have possessed an open burgonet or casque, as well as its close headpiece. The casque is in make, that it dates
are of opinion that the suit is Milanese about 1580-1600, and that it was not produced under the
lost.
now
We
influence of the
Pompeo
della
Cesa school.
It
is
sounder
in construction
than the generality of such suits of the time, and we feel as we look at it that the armourer who made it must have been fairly well skilled in the
principles of his craft.
86
CHAPTER XXXI
CLOSE HELMETS OF THE XVlTH CENTURY
considering the various forms of close helmet that in diminishing favour were worn throughout the XVIth century, we have
to
remember
shall
that,
like the other
helmets of this era to which
allude, they were evolved from earlier forms of the various classes of head-piece. In our notice of the salade and
we
armet, as in that of the tournament helm, we considerably overstepped the limit of the XVth century, to which period generally speaking we assigned those
head-pieces, and in each case traced its progress well into the XVIth century. For a better understanding of how all these types combined to form the ordinary close helmet of the second quarter of the XVIth century, we must
our readers to our previous chapters. When we were describing the complete suits of the XVIth century we endeavoured to class them in progressive order according to their styles: first, the plain Majmiiiliaiv therL_thg^ Maximilian with the channelled surface, and then t\\e grotesque Maximilian. Next we were concerned with the style which we classed 2&landsJiuedirtr We then came to the mid-XVIth century Italian forms which we have named Milanese, and finally we dealt with that mixture of styles which the second half of the XVIth century introduced. The author admits that he has perhaps made a new departure in classification, but his experience has led
refer
him
to think that the history of
armour
is
best dealt with in this
manner
according to the countries of its manufacture. shall deal therefore with close helmets on similar lines, not necessarily dividing them into separate groups under national headings, as can be done in the
rather than
by classing
it
We
case of the
At the same distinctively pageant armour of this century. time we desire to explain to our readers that, as close helmets nearly always formed part of a complete apparel, we are giving only a few illustrations; more
most types of these helmets may be seen represented
full
since
in the illustrations
of the
We
harnesses of the different periods. shall commence our description of close helmets of the Maximilian
87

order by giving an account of four plain
specimens.
The
illustrated (Fig. 1163) is German in provenance, and dates It has the so-called souffle^ or bellows visor, which, apart
first example from about 1515. from the two face
defences of the kind which
we distinguished
as belonging to the salades of
the Celata type, and to certain later occasion to mention for the first time.
tournament
The
helms, we now have formation of the visor shows
that series of peaks or ridges so common in the helmets of the Maximilian " " bellows visor can be easily understood, for in type. The ordinary name of the outline of the visor a strong resemblance to the leathern part of a half
Fig.
163.
Helmet
Probably the work of
Fig.
164.
Helmet
about 15 10
German, about
VVilhelm
1515.
Italian (Milanese),
Worms,
jun., of
J.
Collection: Mr. S.
Nuremberg Whawell
Collection:
Author
closed bellows can be observed; thus the visor has the appearance of a series of ridges with concave hollows, though in the case of this example these are not strongly developed. This helmet is very simple in outline and There is an absence of any form of cabling, quite perfect in condition. either on its low comb or on the edge of its gorget plate, a fact that induces
us to assign it to such an early period in the XVIth century. As armourer's mark it has the letter W, which has been construed into that used by
Wilhelm Worms, jun., of Nuremberg; for though the mark used by Worms, senr., was apparently a stag, his son occasionally resorted to the use of the single letter W. We next show an Italian type of the plain Maximilian
88
CLOSE HELMETS OF THE XVLih CENTURY

helmet (Fig. 1 164). Here the stubborn adherence to the XVth century armet form may be noticed. The visor has more or less the same kind of construction as that of the (ierman helmet just mentioned; but the cheek-pieces are have every reason to believe that this hinged farther back at the side.
We
little
head-piece, for its proportions are small, is of Milanese make of about 1510. Of the next helmet which we illustrate (Fig. 1165), part of the lining is original; though the aiglettes
in
its
which kept the lining

are restorations.
It
place
has been cus-
suppose that the twin holes in the crown-pieces of these helmets were intended for fixing
tomary
to
mantlings, lambrequins, and plumes. This may sometimes have been the
case,
indeed the very small size of

holes
these
this
and
their position
in
and
in
other
helmets would
seem
may
the theory; but it be considered that their usual
to favour
service
was
for the
passage of the
in
position the lining coif of the helmet. This helmet, though somewhat thin, is of
aiglettes
that
retained
grand proportions, and suggests the It head-piece of a very big man. originally formed part of the Burges Collection, and is illustrated in De Cosson's and Burges' Hebiiets and Mail. Next we illustrate a helmet in the National Bavarian Museum
of Munich,
a
Fig. 1165.
Helmet OF GREAT PROPORTIONS
German, qarly XVIth century. Collection: Author
head-piece far less "bullety" in its outline, but of somewhat later date (Fig. 1166). It is a splendid example of workmanship, with a solidly constructed visor and a low
grooved comb to the skull-piece. Other illustrations show a smaller variation of this helmet (Fig. 1 165), and one that has an armet-like visor (Fig. 1 167); it is in the National Germanic Museum of Nuremberg, as is also a considerably later example of the plain Maximilian helmet (Fig. 1 168). This latter specimen
has a very strongly accentuated bellows visor; but
it
has that globular
89

outline to the back of the skull-piece that proclaims it to be late in the first half of the XVIth century. This head-piece is noteworthy as displaying that
hollowed ridge round the bottom of the helmet which has erroneously been supposed to constitute the difference between the burgonet and other close XVIth century helmets. This hollow round the base of the helmet fitted closely on a salient rim round the top of the gorget of the suit. When the
Fig.
167.
Helmet
German, about 1520. National Germanic
Museum, Nuremberg
Fig. 1166.
Helmet
Fig. u68.
Helmet
German (Nuremberg), about 1520. National Bavarian Museum, Munich
German, about 1540. National Germanic
Museum, Nuremberg
closed,
it
helmet was placed on the gorget rim and off, while it still moved round freely in a being stiffly articulated allowed for such a of the head so that to look really up or
difficult.
could not be wrenched
horizontal direction.
The gorget
very slight raising and lowering down must have been extremely
Hence, this means of attaching the helmet possessed disad*

Mit
vantages.
*
90

Of
finer
all
the fluted helmets with which
we
are acquainted,
we know no
example than that magnificently fashioned head-piece in the Artillery Museum of the Rotunda, Woolwich, which dates from the first quarter of the XVIth century (Fig. 169). This helmet opens down the chin, somewhat after the fashion of the early armets, but the tail-piece of the crown is much broader. The skill shown in the fluting of the crown and in the forging of the twisted comb are most remarkable. Along its upper edge are etched
1
Fig.
169.
Helmet
Museum, Rotunda, Woolwich
German, about
1520.
Artillery
various grotesque figures, and each of the rivets for the lining strap of the cheek-pieces forms the centre of an engraved six-leaved rose. The quilted linen lining of these cheek-pieces is still extant. The lower edge of the helmet finishes in a hollow roping as in the case of the previous head-piece.
helmet constructed on the same principles as the one last mentioned, though not quite so elegant in form, is to be seen in the Burges bequest to the British Museum (Fig. 1 170); but in the case of this example the centre part of the visor has a salient projection with upright flutings and breathing apertures, showing a variation from the bellows visor of the other helmet.
91
We illustrate also two other fluted helmets constructed on the
same
principle,
both chosen from the National Bavarian Museum of Munich (Figs. 1 171 and 1172), with visors of both types. In the Wallace Collection are two fluted helmets, Nos. 259 and 254 in the catalogue, both with bellows visors. The
first
example depicted next one shown (Fig.

skill
first
no particular comment; but the 11 74), though perhaps belonging to the end of the of the XVI th century, affords a remarkable example of the quarter
(Fig. 1173) calls for
in the forging of the triple
armourer's
comb
of the skull-piece.
As
Fig.
1 1
70.
Helmet
Museum
German, about
1525.
Burges bequest, British
a specimen of cabling or roping, the quality of the workmanship could not be surpassed and it is as fine, if not a finer, test of skill in the use of
;
the
piece of metal the skull-piece with the fluting and the elaborate triple roping, here represented, as to forge the high combed Italian morions that belong to the end of the XVIth century.
to
hammer
emboss from the same
There are
in the
Metropolitan
Museum
of
New York
two close helmets
magnificent in their simplicity, and undoubtedly anterior in date to those we have already mentioned both coming well within the first quarter of the
XVIth
century.
The
earlier of the
two
(Fig.
175) can hardly claim to belong
92
Fk;.
171.
Helmet
Fig.
172.
Helmet
German, about 1530.
National Bavarian Museum,
German, about 1525.
National Bavarian
Munich
Museum, Munich
Fig.
173.
Helmet
Fig. 1174.
Helmet
German, about 1530. Wallace Collection (Laking Catalogue, No. 259)

IV
German, about 1530.
Wallace Collection (Laking Catalogue, No. 254)
93
:>0
{f>)
Fig.
175.
Helmet
of Signer Ressman.
German, about
{a)
1515.
Formerly
in the collection
Now
Metropolitan
Museum, New York

{b)
Back view
Front view
Fig.
1 1
76.
Helmet
New York
{b)
German, about
(rt)
1530.
Front view
Back view
94

Maximilian type; in pLice of fluting it only shows three radiating grooves at the back, and nothing of the kind on the visor, which is of the simplest order, having but two single slits, forming the ocularia, and a small mouth-like aperture in the base of the visor for
to the category of the fluted
breathing purposes. It is of the hybrid type. The comb of the skull-piece a very characteristic is broad and flat, slightly concave in its section feature of the helmets of the earlier Maximilian type; the ba.se of the helmet extends so that it lies flat over the gorget. The other helmet (Fig. 176) is
of the fluted order; but the channelling is arranged in groups of four, and the visor is of the shape met with upon helmets of the closing years of the XVth century. The comb of the skull-
most remarkable very broad, fluted, and grooved. The least interesting and later form of the fluted Maximilian style is that in which the head-piece opens down the side, as in the case of an ordinary XVIth century helmet, and in which, added
piece
is
back of the skull-piece, there are three or four lames riveted on in the manto the
show a typical ner of gorget plates. helmet of this type (Fig. 1 177); it is possibly as late as the end of the second quarter
of the
We
XVIth
*
century.
-*
Fig.
177.
Hklmkt
National Germanic
When we come to consider Maximilian
German, about
540.
Nuremberg helmets of the kind that we have described as grotesque, it is hard to appreciate the really wonderful excellence of workmanship which produced such unnatural forms then considered as the appropriate decoration of plate armour. But these grotesque forms so often
Museum,
adopted by the armourers of the

in
first
half of the
XVIth
century only
reflected, especially Germany, the curiously bizarre taste of the age. Similarly the Japanese warrior of olden times, equipped in a suit which modern taste must condemn as eccentric and ludicrous in the extreme, must
have been regarded by his contemporaries as presenting an appearance of a fine fighting hero. It was the wear of the time, and what persons expected to. see. At least this is how we account for these oddities in Maximilian
fashion that
himself in
personage should occasionally hide a suit bizarre and extraordinary in form. That splendidly made 95
demanded
that a great

Armoury of Vienna, supposed to be the work of Lorenz and formerly supposed to have belonged to Albert Achilles, Duke Kolman, of Brandenburg, is an excellent example of this grotesque style of armour. A helmet of the salade order appears on it that in general appearance suggests the head of some harpy of mythology. Yet the workmanship is of the finest, and so cleverly has the element of the grotesque been rendered,
suit in the Imperial
Fig.
178.
Helmkt
Collection.
German, Nuremberg, about 1520. From the Bernal Class IV, No. 29
Tower
of London,
that
it
has proved not detrimental but rather advantageous to the helmet's
protective properties. As the result of one of the very few judicious purchases made by the authorities in the XlXth century the Tower Armoury possesses a very fine
close helmet of the fluted
at the
Maximilian order, an example purchased
in
1855
for ;^53. Here the outer visor is face with fierce upcurled moustachios. This formed as an aquiline-nosed visor is attached above a second open-barred visor on side pivôts which
famous Bernal Sale (Lot 2698)
have a hinge and pin arrangement,
in
the
manner
of the visors of the X\'th-
96

century arinets
an arrangement by which they could be removed
at pleasure.
This helmet, heavy and very sound in ij:s construction, is probably of Nuremberg workmanship, and dates within the first quarter of the XVIth century (Fig. 1178). Among the examples of armour bequeathed to the British Museum by the late Mr. W. Burges there is just such another visor to be seen on one of the close helmets an example that was formerly in the Meyrick Collection (Fig. 1179). In this case the visor is of earlier date than that of the other parts of the helmet. The visor contains a hole
Fig.
179.
Grotesque VISOR AiJouT
1520
Adapted
to a late
XVIth
century skull-piece.
Museum
for the spring catch which originally fixed it down, but no corresponding catch exists in the skull-piece; the form of the skull-piece belongs to the
second half of the

style.
century, and the visor is distinctly Maximilian in Doubtless the skull-piece and visor were associated late in the XVIth
XVIth
century.
Reverting once more to the Tower of London, we note among the oldest recognized possessions of the Armoury a grotesque helmet (Fig. 1180) known since 1660 as the helmet of Will Somers, the well-known jester in the service of King Henry VIII. This grotesquely fashioned helmet figures
97

throughout of London.
all
the inventories of the

is its
armour
at
Greenwich and
at the
Tower
So complete
hjstory that
we propose
"in In the 1547 inventory at Greenwich it is " Itm upon the Thirde horse the seconde House": playne Tilte harnesse lackinge a paier of gauntletts a base cote of blacke vellet embrodered w' cloth
to give it in full. mentioned as on a suit
of golde,
a heddepece id a Rainines home silver pcell guilt e and a Stele Saddell covered w' blacke vellet." (The italics are our own.) In the 1561 inventory of Greenwich it is included among: "Armour sent to your Mat', said father by Maximilian the Emperor garnished with silver and guilte with a Head-
FiG.
180.
Helmet
Known
as that of Will Somers.
German, about 1515-20. Tower of London,
Class IV, No. 22
peice of fashion like a Rames head." This must be the head-piece, though from the very bald entry of it, it appears as if it had been placed on another But on which? In the 161 1 inventory of Greenwich it is described as: suit.
peece w"' a pair of Rames homes." In this instance it appears alone and not associated with a suit. In the inventory made in 1660, by which time it had been removed to the Tower, it is associated with a jack coat and
a sword and has a history attached to
"
A Head
homes, coller, and Spectacles upon it, one." William Sommer's amies.
.
"Anticke headpeece with Rams one Jacke and one sword all said to be
it:
In the 1676
Tower inventory
it
again figures as:
"
Antick headpeece
w'^'
98
Ramms Homes
be William
Coll''
&
spectacles
upon
it,
one Jacke
&
one sword said to
once
aj^âin
it
Summers amies, i." In the 1683 Tower inventory it occurs as: "One suite anticke headpeece w'*" rams' horns and spectacles
all
upon
and one jackett of maile

It will
said to have been
William Somers
his
be noted that in this inventory the Jacke is jackett of maile." In the 1688 Tower inventory the entry same as that just quoted: " Antick Headpeece w"' Coller
amies."
now
is
called
"
one
practically the
Rams Homes
&
Fig.
181.
Helmet
Rome
German, about 1515-20. Collection: Prince Ladislaus Odescalchi,
occaSpectacles, Jackett and sword all said to be Wni: Summers." On this sion the helmet was valued at 2>The entry which deals with it in the 1691 inventory is similar to that it in appearing in the 1688 inventory; while the inventory of 1693 describes
identical terms.
sword and Early in the XlXth century there is no longer record of the It is a close helmet jack that at one time were associated with the head-piece. of the Maximilian order, with an iron mask visor attached to it by a hinge over the brow, with hooks and staples at the chin. The visor is pierced at the
99

eyes,
mouth, and nostrils to enable the wearer to breathe freely, it is likewise embossed with deep wrinkles. The back of the skull-piece is ornamented by alternations of repoussd and indented square spaces. When the paint which formerly covered the helmet was removed the surface was found to be etched and to show remains of gilding. The mask until recently was painted flesh colour and the There can be little doubt that spectacles gilded. when the helmet first received its coats of paint-
probably early in the XVI Ith century the crudely fashioned iron spectacles were added to it to make
appear more quaint. In the curious expression given to its groGerman, about 1530. National tesque visor, a helmet now in the collection of Germanic Museum, Prince Ladislaus Odescalchi at Rome bears a great Nuremberg similarity to the Tower helmet just described. It has a skull-piece of superb workmanship with a triple cabled comb bordered by radiated fluting on either side. The helmet has never been taken to pieces,
it
Fig. 1182.
Helmet
and
possesses its original rivets with decorated washers at

the sides.
still
This Odescalchi hel-
met, a magnificent example of the armourer's craft of about

1520, has now a brown patinated surface (Fig. 1181). In the National Germanic Museum of
Nuremberg
there
is
a fine helmet
partially fluted, and at the same time etched with bands of ornament. Its visor is embossed as
face,
not a fierce face, but one
of gentle
1
only represent three other helmets to illustrate the element of the grotesque in
182).
We
good humour
will
(Fig.
Fig.
1
183.
Helmet
German, about 1540, with wings added in the XVHth century. Tower of London, Class IV, No. 33
the Maximilian order of head-pieces one in the Tower, one in the Wâllace Collection, and finally that historical head-piece in the Vienna Armoury
made
for
King, afterwards the
Emperor, Ferdinand
100
I.
In construction

1183) differs from those which we have so far described, having a faceted skull-piece drawn out to a pointed apex, which has been subjected to alterations. In rendering the visor of this the armourer will be seen to have example exaggerated the grotesque; a curly puckered nose and thick distorted lips have been chosen for the theme of the decoration, which, while constituting a veritable triumph in hammer work, make the helmet more the disguise of a clown than anything else. 71ie two pieced wings added to the skull-piece are of later date than
(Fig.
in
the
Tower helmet
Fig.
1 1
84.
Helmet
German, Augsburg, about
1540.
the actual helmet, which can be assigned to the second quarter of the XVIth century. They may be looked upon as additions made probably in Poland
somewhere towards the middle of the XVIIth century the present writer has come across a good many XVIth century close and open helmets to which these curious wings have been added, and many of them can be traced
;
to a Polish provenance.
(Fig.
184),
is
The helmet in the Wallace Collection, No. 257 a heavy and well made head-piece, fluted and etched with
it
ornaments; but
presents the strange feature of the point of the visor terminating in an eagle's head, which is skilfully modelled and etched to P IV 1 01

and dates represent plumage. It appears to be of Augsburg workmanship, towards the middle of the XVIth century. Of the three head-pieces we are now discussing the Vienna helmet is perhaps the finest achievement in the
way
of the grotesque;
it
bears the armourer's
mark
of
Georg Seusenhofer
of Innsbruck, and shows signs throughout of his excellent craftsmanship. The visor, which takes the form of a wolf or fox mask, is most bizarre; but
it
served a really utilitarian purpose, inasmuch as
its
great depth, a depth
Fig.
11-85.
Helmet
Made
for
German, the work of Georg Seusenhofer of Innsbruck.

about 1528.
King Ferdinand
Imperial Armoury, Vienna
essential to carry out the design, lent space to the interior of the helmet,
which greatly facilitated the breathing of the wearer. The etched ornamentation of the helmet is said to be the work of an Innsbruck painter, Hans Pirckheimer(?), and judging from the heraldic achievement upon the crest, which bears a device used by Ferdinand as King, we may place the
date of this head-piece as slightly anterior to 1530 (Fig. v^ ^
-4^
185).
Contemporary
in
fashion with these grotesque head-pieces are 102
those

close helmets of the
Maximilian order,
in the
construction of which
the
himself the task of imitating in metal the slashed and In the cutting of the civilian costume puffed civilian dress of the time. fanciful allusion to the slashing received in battle by the wearer is intended, and in much of the armour of the time this fashion is faithfully copied. This puffed and slashed ornamentation may be considered as one of the
set
armourer has
attempts at decorating the surface of armour by embossing from the inner surface. The suit in the Imperial Armoury of Vienna, attributed toWilhelm von Rogendorf, closely follows the fashion of the civilian dress of the time In the Tower of London are portions of such a suit (Vol. iii, Fig. 1040).
first
Fig.
186.
Helmet
German, about
1530.
(Vol. iii, Fig. 1043). The Musee d'Artillerie of Paris is fortunate in possessing a full suit of this same decoration which is said to have belonged to Giuliano
de'
Medici
in
(Vol.
iii,
Fig.
1045).
In
the
Wallace Collection,
is
Laking
suit, 380 (Vol. iii. Fig. 1042), there constructed on this principle, the Meyrick Collection, formerly helmet of which, though not actually belonging to the suit, we propose to illustrate as a fine example of a head-piece with slashed ornamentation. No. 381 (Fig. 1 186). The skull-piece is flattened in form, and has five combs with slashed ornaments the visor and mezeil are in one, of bellows form, having narrow horizontal ocularia and slits for breathing purposes. The is somewhat exceptional, as being of but one plate hinged on the
Catalogue,
No.
a three-quarter
the
chin-piece
103

left-hand side, beneath the pivot of the visor. The lower edge of the helmet is finished by a hollow roping fitting the top plate of the gorget, and allowing
the wearer to turn his head.
The helmet
is
probably of Augsburg make,
and can be dated within the second quarter of the XVlth century. Although the loss of its original cheek-pieces renders it an incomplete head-piece, an example from the collection of Mr. Felix Joubert (Fig. 1187) is also worthy

we
will
refer
the reader
who wishes
which appear on certain suits which we Maximilian school. *
to study further examples to those have illustrated in our chapter on the
Before we give some account of the close helmets which belong to the second half of the XVIth century, we ought to mention a few of those magnificent head-pieces constructed directly under the influence of the
Kolman
schools,
family of Augsburg, the
Wolf
family of Landshut, and of their
which occupy an intermediary position as regards the period of their production in the century. It is not our intention to give more than a few illustrations; but so fine are some of the works of these armourers that it would be an indifferent list of the various types of close helmets of the XVIth century which failed to take notice of their achievements in this direction. These helmets cannot be classed with the Maximilian head-pieces, nor do they follow the Milanese fashion; they illustrate a type of their own to which we give the name of the landsknecJit, a type which shows fine workmanship and decoration applied in strictly good taste. Within the same category we include those head-pieces found on the suits of armour termed "Spanish," for they are constructed on the same principle of head defence. In this connection we might allude to the wonderful helmets to be seen in the Royal Armouries of Madrid and Vienna; but coming nearer home we prefer to give " as our first illustration of such a Spanish" head-piece one to be seen on a suit in the Wâllace Collection, No. 428 (Fig. 1 188). In the case of this example, so excellent is the quality of the work and so admirable is the method of the enrichment that we are inclined to see in the whole harness to which it belongs not merely a suit influenced by his school, but one actually made by
Kolman of Augsburg in the closing years of the first half of the XVIth century. The skull-piece of the helmet is of finely modelled keel form with slightly flattened crest. The chin-piece opens down the side and is hinged below the point of the visor. The visor and mezeil are in one, acutely pointed in
Desiderius
forming the ocularia. There are numerous circular and oblong apertures for breathing purposes. The upper edge of the visor is escallop-shaped and chamfered; the lower edge is hollowed to a scaled roping. The pivots at the side are on the principle of the XVth century armets, fastening The by staple and pin beneath the plate, which is hollowed to receive them.
front,
with two narrow
slits
lower edge of the helmet is roped to fit the top plate of the gorget. The helmet retains much of its original quilted yellow satin lining; while the
elaborate
mechanism
for
keeping the visor closed, and for retaining

105
it
in

position when raised, still exists. The decoration, like that of the rest of the suit to which the helmet belongs (Fig. 1069), takes the form of either slightly raised or slightly recessed ornaments beautifully etched and gilt.
type in the Wallace Collection (No. 520) is influenced by the same school of design, but is more probably from the hand of one of the Wolfs of Landshut (Fig. 1189). Although it
Another helmet of the
"
"
Spanish
is
of about the
same date as the
feature of a close helmet that
we
presents one havê not yet had occasion to mention,

last
helmet described,
it
Fig. 1188.
Helmet
From
the half suit, No. 428, Wallace Collection. German, but of the "Spanish" type, probably the work of one of the Kolmans of Augsburg, about 1540
namely, the umbril plate protecting the ocularia. It has also a remarkably open mezeil, so cut away as to give the appearance of a triple bar
appear probable bevor originally falling this has now been lost. The existed to cover the present very open mezeil decoration found on this helmet exactly corresponds with that of a harness made for Philip II, now at Madrid, to which the casque in the collecA helmet sometion of Mr. Felix Joubert (Fig. 1258) likewise belongs. what differently constructed, but showing the same double face defence,
that
face defence.
The
some outer
indications of rivet holes, etc., form of what was termed the

;
make
it
106'

is
to be seen in
II
the
It
Musee
is
d'Artillerie of
Paris
(Fig.
1190).
of a
date
contemporary with
on a suit of armour, that of the two
helmets just described, and though in the official catalogue it is said to be of Italian workmanship, our opinion is that it bears undoubted signs of " having been produced under German influence, though not in the "Spanish manner. Although the general form of this helmet shows none of the
eccentricities of the
Maximilian order, and seems more allied to that series of close helmets which is usually accepted as Italian and of mid-XVIth
Fig. 1189.
Helmet, mounted visor wanting " German, but of the Spanish" type, by Wolf
of Landshiit, about 1550. No. 520, Wallace Collection
Fig.
190.
Helmet
From
the suit
11,
to be Italian, but
Musee d'Artillerie. Said more probably of
Augsburt;" make, about 1550
century date,
we cannot help noticing that it presents certain on close indicating its German make, and usually only found the Kolman of Augsburg and the Wolf of Landshut schools.
It
first
characteristics
head-pieces of
will be
noted that
half of the
XVIth
the foregoing close helmets date within the will now turn to those of the latter century.
all
We
century, of all styles and nationalities; but before we allude to the large family that we place under the heading of the Milanese helmet, we shall consider a few intermediary shapes of German make of the
half of the
same
Landsknecht
type.
107

and two close helmets which we now represent (Figs. 1191 Both, apart from slight variations, are constructed in the same 192), fashion, have visor and mezeil made on the same principle, and chinpieces opening down the side, and both originally possessed gorget plates, which are now missing. In the shapeliness of their skull -pieces we have a faint reminder of the Maximilian helmet. They may be accepted as German and of the middle of the XVIth century. In the helmet No. 278 of the Wallace Collection (Fig. 1193), is to be seen a close head-piece fashioned on the principle of the last two
Look
1
at the
Fig.
191.
Helmet
Fig. II 92.
Helmet
German, probably Nuremberg, 1550-60 Collection: Mr. S. J. Whawell
German, about 1550-60 Collection: Mr. .S. J. Whawell
mentioned, but influenced by the school of Kolman of Augsburg, if not the actual work of Desiderius Kolman. The skull-piece is of graceful keel-
shaped form, finishing in a low roped comb. The chin-piece opens down the front, and is hinged below the pivots of the visor and bevor. The visor has two oblong apertures forming the ocularia, the top edge is chamfered and escallop-shaped. The mezeil, held in position by spring catches, is pierced on either side with apertures for ventilation; while the lower edge of the helmet is formed to a hollow roping, fitting to the top plate of the gorget. At the back of the skull is a small fluted rondel, a curious survival of the fashion followed by the armets of the XVth century. On the right chin-piece is hinged a bar for upholding the mezeil when raised. The whole helmet is
108

decorated with fine etching disposed in the following manner. On the skull are two slightly recessed scrolls, inclosing five circular medallions with emperors' heads w hile down either side of the comb runs a frieze representing
;
hunting scenes with scrolls bordered by a dentated ornament. Round the border of the visor and mezeil is a scroll design, and round the base of the skull can be seen a narrow band etched in representation of the spiked
collars used for the
it
German boar and wolf hounds. To date must be borne in mind that Desiderius Kolman worked,
this head-piece after the death
^^^^^^^^^r
* jM

duced by a follower of Speier's school, and not have come directly from his
hand.
helmet constructed somewhat on the same lines, though of some few years later date, is that example in the Wallace Collection, No. 651 (Fig. 1 Here we note a more accentuated comb to the crown; while from the 195). screw holes in the mezeil it is apparent that additional tilt-pieces must have been made for it. The enriched bands are etched and gilt, and the back-
ground
is
filled in
with some black pigment.
This helmet
is
of the highest
Fig.
195.
Helmet
1
Fig. 1196.
Helmet
German, Augsburg, about

Belonging to the
suit in the
570
Wallace
Imperial Armoury, Vienna,

I.
Probably French, about 1550. Belonging to a suit in the Royal Armoury, Madrid.
Collection:
made
for the
Emperor Ferdinand
Collection (Laking Catalogue, No. 651)
Author
of the Wolf or possible quality of workmanship, resembling the products Worms schools; we are unable, however, to assign it to any particular armourer. The greater portion of the suit to which this helmet belongs
is
in the
Imperial
Armoury
of Vienna, and
known
as the
armour of the
Emperor Ferdinand I. Before we commence

of
to descend the scale as regards the actual quality

in the art of the
workmanship displayed
armourer,
we
will give
an
illus-
tration of a very finely constructed close head-piece that 1 10
we
consider
may

be of French make, though in general lines it resembles the Italian form of close helmet to which we are about to allude (Fig. 1196). The skull-piece is modelled with graceful accuracy, and the fully
protective visor and mezeil are of one plate, extending from well above the forehead to rather low down
on the chin-piece.
is
The whole
surface of the helmet
of a blue-black patina, showing, as in the ca.se of some of the finest Milanese products of the first
quarter of the XVlth century, the actual hammer marks on the face of the metal. Its decoration is of
the simplest, taking the form of slender branches of palms slightly embossed and gilded, the stalks of
Fig. 1197.
Helmet
Italian, Milanese tj'pe, about 1560-70. National Bavarian
Museum, Munich
it
which are curiously intertwined. From the very characteristic manner in which the palm branches are rendered, it would almost seem as though they were intended to represent the cognizance of some house. The suit to which this helmet belongs is in the Royal Armoury of Madrid, where
is
not described as the
work
of any particular armourer, or as having been worn by any particular person.
close of the century us a period of marked brings decadence and aesthetic impotence,
The
and we meet with that
class
of head-piece to which, regarded solely from a constructional
point of view, we have given the name of the Milanese type.

In these helmets the
comb varies
opens
Fig.
Italian (Central),
1
in height, the chin-piece
down
plates
either side with gorget
and
attached, and the visor mezeil face guard are in
198.
Helmet
Collection:
about 1560-70.
S. J.
Mr.
Whawell
separate plates. Of this type the best example we know of is a helmet to be seen in the National Bavarian of all those 1 Museum of Munich 197). Here is a head-piece possessed
(Fig.
III

which we have alluded.
It is
characteristics to
etched with bands of various
thicknesses containing groups of crudely rendered animals and trophies of arms and armour, etc., a mode of decoration which, though generally known " as Pisan," is in its finer form found mainly on the work of Pompeo della
Chiesa of Milan.
This form of ornamentation, from the very unsystematic which the motifs used are arranged, has, as already mentioned, " among English collectors earned the derisive nickname of mops and brooms pattern." In the case of this example the trophies are finely gilt.
method
in
Fig.
Italian in form, but probably of
199.
Helmet
d'Artillerie
French workmanship (Louvre school), about 1570-80

259,
H
whilst
Musê
the field
has been blued.
Kennedy's Collection we the armour that comes into the market to-day this type is the one most frequently met with; but the specimens are as a rule in a poor state of preservation, often having been eaten into with rust and then overcleaned. Another helmet which we illustrate has the same form, but its surface is enriched with a better type of etching, viz., narrow bands of scrollwork more in the true Milanese manner (Fig. 1 198). Its date is about 1570. It is now in the collection of Mr. vS. J. Whawell, who obtained it from that of
112
a helmet formerly in Mr. Ernest find the etching in equally good condition. Of all
On

" Milanese" Sij^mor S. Hardini of Florence. It was upon close helmets of this form that Lucio Picinino in his later manner and his followers executed their elaborate embossed ornamentation (Figs. 1082 and When we look
to other countries for
an elaborate head-piece of
1088). this order,
we once more
turn to France, and in the Musee d'Artillerie (H 259) see a close helmet of the type we want, but a helmet certainly not of Italian, but of French
Fig. 1200.
Helmet
Probably German, about 1590. Collection: Stibbert, Florence
origin (iMg. 1199). This helmet we are inclined to ascribe to one of those Parisian armourers who practised their craft in the Louvre on behalf of the royal house of France, armourers whose work we have already illustrated and
described in Chapter XXVI 1 1 of our third volume. The decoration shows the same predilection for covering the surface with terminal figures, curious
monsters, and elaborate scrollwork executed in low relief, work which the period considered is admirably modelled, but which is marred by a certain conventional stiffness peculiar to the later French school it represents.
113

Note particularly the quilloche ornament on the comb, and the rendering
of the figure subjects quite in the Fontainebleau manner. lacks its gorget plates.
The helmet now
coarser type of such a decorated close helmet, but, we venture to think, of German origin, and belonging to the closing years of the XVIth century, is to be seen in the collection bequeathed to the town of Florence
Mr. Frederick Stibbert (Fig. 1200). Here indeed can be seen actual decadence; for not only is the helmet made in two halves joined down the centre of the skull-piece, but the metal of the head-piece is poor and has an appearance as if made of tin. To be just, however, it must be admitted that this head-piece is now but a shadow of its former self, being much overcleaned and repaired. It is entirely ornamented with alternate bands of relief ornaments with recumbent nude figures, amorini, etc., and of plain polished steel. At one time this helmet held high rank as one of the treasures
by the
late
of the famous Magniac Collection. Of those close helmets that we accept as being of English provenance, we have given illustrations of four which are credited to the Greenwich
school of armourers
whose works have been
illustrated
and described
in
Chapter
XXIX
of this volume.
are respectively those belonging to the suit of the Earl of Worcester (Fig. 1108), to the lost second suit of Sir Henry Lee, Master of the Armoury to Queen Elizabeth (Fig. 1 123), the second helmet on the suit
The helmets
made for George Clifford, Earl of Cumberland (Fig. 112,2a), and that on the suit of Sir Christopher Hatton at Windsor Castle (Fig. 1 1 13). The work of this school is very characteristic, being heavy, solid, and a little clumsy, but
regards form and a decoration of slightly raised or recessed bands, finely etched and gilded, forming the subject of his decorative scheme in a fashion that somewhat recalls that of
as
marked by a strong individuality both
family of Landshut. In this same school, if they are not the actual work of the same armourer or armourers, we would put the two helmets both equally puzzling as regards their real maker which were fashioned
the
Wolf
for
the small
suit
at
Windsor
Castle, once
I.
Wales, elder son

length, identifying
of
it
King James
worn by Henry, Prince of Meyrick discusses this suit at some
with a harness recorded to have been made for that Prince by William Pickering, an English armourer working at Greenwich; we ourselves, however, are sceptical as to this identification. The.se notes must close our survey of the close helmets of the XVIth
century, outlining as they
do the prevalent types that are

114
chiefly found.
But

there arc helmets of yet one more class of which we must take account; we allude to those which for the last three hundred have helped to preserve years the traditions of our great families the helmets of the XVIth
century even now, to be seen in the churches of England. have already mentioned, in our chapters on the salade, the armet, and the helm, in Volume II, those which in their entirety or in individual parts have rightful claim to late XVth or early XVIth century date; but many ordinary close helmets are to be met with which belong to the closing years of the
so
constantly,
Wc
(a)
(d)
Fig.
20 1.
Helmets
These helmets
Hanging over the tomb of the Fettiplace

(a) Italian form,
(/>)
family, Svvinbrook Church, O.xon.

for funerary purposes
have been adapted
but probably of English workmanship, about 1580-90 English workmanship, about 1560-70
century, though they often hang above the tomb of some worthy of earlier date. will record three that will serve to illustrate the late XVIth
XVIth
We
century type to which we refer, two in Swinbrook Church, Oxon, of varying form, accredited to the Fettiplace family (Figs. 1201, a, b), and one of the .same late XVIth century order in Stanton Harcourt Church which, doubtless the helmet of some later Harcourt, now hangs above the tomb of Sir
Robert Harcourt, .standard bearer to King Henry VII (Fig. 1202). Two of these represent just the ordinary so-called Milanese helmet; they are as a rule devoid of decoration, but often painted by the funeral furnisher of the time, and
1^5

embellished with the crest of the family in carved and painted wood. The present writer has records of such helmets in the churches of Sandwich Minster, Marlow, Slaugham, and many others. Major Victor Farquharson,
an enthusiast on this particular type of head-piece, has informed the author that he is personally acquainted with over three hundred church helmets in Eni^land alone. We hope to print a list of church armour in Volume V.
Fig.
202.
Helmet
Italian form, but probably of English workmanship, about 1580-90
Stanton Harcourt Church
are are
must be borne in mind that some of the heavy close helmets that to be met with dating from the middle to the end of the XVIth century as such form a link with our brief history of that tilting helmets, and
It
form of head-piece which in the XVth century is styled the helm. In Volume II we have illustrated in Fig. 500 the latest form of what we can still call the helm, or at least the descendant of the helm; but concurrently with those constructed for the joust and tournament alone are various types
116

of close helmets which served a double purpose, and were used both in the joust and in the field. must again pause in what we intended should be a brief discourse on the more ordinary close helmets of the XVIth century, and break our narrative
We
how the requirements of the tilt yard influenced the construction of the ordinary XVIth century head-piece. Our first example (Fig. 1203) is a close helmet of German from about 1570, on which may be origin dating
in order to note
observed screws for the attachment of the tilting pieces. At the date assigned to this helmet a number of suits of armour were made which could either be used as war harnesses, or by the addition of certain pieces as tilting suits. The screw found on the front of the mezeil of this helmet was for the purpose
Fig. 1203.
Helmet
German, about 1570.
Collection: Baron de Cosson
haute pUce or a large guard, which was fixed to the breastplate and covered the left side of the jouster from about the level of the elbow up to that of the eyes. When the helmet was screwed to this piece the wearer could not turn his head in any direction; but the existence of the rim at the bottom of this helmet shows that it was also intended to be worn without the haute piece. When the haute pike was screwed to it the visor could not be raised so a small door was made on the right side of the mezeil the side which was not covered by the haute pike by opening which the wearer could breathe more freely. It has been suggested, we believe by Sir Samuel Meyrick, that it was through this door flying open that Henry II of France received his fatal blow; but the late Mr. W. Burges has disposed of that fiction. The door in the helmet under discussion is secured by a spring catch
of securing
it
to the
IV
117

worked by a leather thong. The visor is secured to the mezeil in the same manner while the catches which fix the mezeil down and close the helmet are locked by means of hooks. On the right side some small holes have been
;
pierced opposite the ear for purposes of hearing. An interesting feature of this helmet is the existence of two cross straps inside the top of it which are riveted to the front part of the helmet and secured at the back by aiglettes,
to prevent the lining cap
from pressing against the crown of the helmet
Fig. 1204.
Helmet for field or

1560.
tilt
wear
German, school of
Wolf of Landshut, about

Odescalchi,
Collection: Prince Ladislaus
Rome
it
or being wrenched from the strap to which lining of the chin-piece is still preserved.
was sewn. The
original leather
In the collection of Prince Iâdislaus Odescalchi of Rome can be seen of a finer type (Fig. 1204), of careful and accujust such another helmet, but rate workmanship and of almost the same construction save that it lacks the
of the trap door. There is little doubt that this helmet, which shows traces influence of the Wolf of Landshut school, originally came from the Royal
Armoury
of Madrid;
its
provenance has been traced to the 1839 sale 118
at

Christie's.
different type of close
quarter of the XVIth century but of the the Wallace Collection, No. 667
sively for tilting purposes the scale at over 10 lb.
helmet of this same period the third Saxon order, may be seen in This is a helmet made exclu(Fig. 1205).
in
and
consequence of heavy make, turning The ocularia are narrow and set back at a
is
Fig. 1205.
Helmet made solely for tilting

From
II.
German, Saxon work, about
1560.
made
for the
Emperor Maximilian
the suit in the Imperial Armoury, Vienna, No. 655, Wallace Collection (Laking Catalogue, No. 667)
distance of i| inches from the contour of the visor and mezeil, which are in one piece, the latter being pierced with ten upright slits for breathing purposes. The lower edge of the helmet is hollowed to a roping to fit the top plate of the gorget; but it has also three extra plates which are attached by
and form a species of gorget plate. An extra tilting piece attached by two screws reinforces the entire upper portion of the left-hand " " side of the helmet, which in a course was the most vulnerable and exposed
three screws
119

most remarkable, the burnished gilding that enriches the whole surface being as fresh as it was on the day on which it was applied. This particular helmet has been parted from the extant portion of the remainder of the suit to which it belongs, which is now in the Imperial Armoury of Vienna (numbered 655), where it is described
to attack.
The
condition of this hehnet
is
^^^^^^^^^^^^^^^H

period, veritable achievements of the armourer's art, and in the main have been executed under the influence of the Kohnan, Wolf, Worms, and Lockner
schools.
two of superlative beauty, each extremely fine both as and condition. The two we represent are chosen regards workmanship from many splendid examples in the Royal Armoury of Madrid, and
illustrate
We
Fig. 1207.
EscuFFA
The work
of Koloman Kolman of Augsburg, about 1530. This reinforcing piece belonged to a helmet made for the Emperor Charles V once in the Royal Armoury, Madrid. It was afterwards in the armoury of Lord Hastings. Collection: Mr. Felix Joubert
both are parts of an historical harness made by Desiderius Kolman for Charles V. The first helmet (Fig. 1206a) has a hemispherical visor and mezeil in one piece, pierced with ring-like arrangements for breathing purposes; while the decoration at the back takes the form of spiral channelling, finely etched and gilt in the manner of Daniel Hopfer. The late Count de Valencia suggested that the deep gorget plates on this helmet are an addition to the head-piece to replace a cabled base, which was removed. The second helmet (Fig. 1206b) has almost the contour
121

of a helm
being of a quite rigid type of construction, the front and back parts opening for purposes of adjustment by means of screw rivets. At the back of the skull-piece is a grotesque
(vol.
ii,
chapter
xiii,
pp.
150^/
seqq.),
monster embossed, engraved, and gilt; while on either side are series of eight aiglette holes, each with brass borders, for the leather thongs used to secure the coif lining. Both these helmets date between 1538 and 1543. In these same armouries there can also be seen those curious reinforcing
Fig. 1208.
Tilting helmet
Mr. S.
(b)
J.
German, 1545-60.
(rt)
Collection:
Whawell
escuffa
With the
escuffa in position
With the
removed
plates
which could be attached

defence.
to helmets for
the purpose of affording
additional
When
the
these
they took the form

of the
mezeil,
of small
parts were added for tilting purposes plates for the extra protection of the visor,
and of the very skull-piece itself, the" w^hole forming that curious reinforcing piece known in Spain as the collection of escuffa. To illustrate this defensive plate we choose from the Mr. Felix Joubert a very splendid specimen (Fig. 1207) the work of Koloman Kolman of Augsburg made for and stolen from one of the fine Charles V harnesses in the Madrid Armoury, and another in a different form,
of
gorget,
122

attached to a very fine close helmet of German origin of the first half of the XVIth century from the collection of Mr. S. J. Whawell (Fig. 1208, a, b). One has, however, to go to the armouries of Madrid and Vienna to find

which some of the heavy head-pieces of this date were worn, and the precautions which were taken to lessen the great discomfort which the wearer experienced in wearing them. We have mentioned in vol. ii, on pages 137 et segq., the care with which the ponderous tilting helms, with their elaborate linings, were attached to the head of the wearer. The close-fitting tilting helmet as a rule dispensed with this complicated arrangement of the " arming-bonett," of padded coif, lacing points, etc., and they were simply,
with some quilted material. In proof of this we illustrate a very heavy helmet made for the purpose of tilting, now preserved in the mess of the Royal Army Medical Corps at Millbank, and photographed for this work by permission of Colonel Wardrope, C.B.
though very
carefully, lined
(Fig. 1209).
interesting feature of this head-piece is that it retains its lining intact, not only that of the skull-piece and of the gorget plates, etc., but even that of the chin-piece. This lining only consists of a very thick
The
velvet padding stuffed with tow.
124
CHAPTER XXXII
THE BURGONET OR OPEN CASQUE
I
A SHORT REVIEW OF BURGONETS OF ITALIAN

ORIGIN,
iF
I
10-1600
a
we use the term casque de parade as we must not be supposed to suggest
synonym
its
for the burgonet,

initial
that in
stage the
open hehnet was not a thoroughly useful piece of personal defence. Owing to the increasing and increasingly effective use of firearms, some new kind of helmet had to be invented for the fighter which would give him a defence that had lightness and allow him unhampered
Greek and Roman form, made popular by the Renaissance, the open helmet or casque built on the lines of the classical head defence was adopted. This helmet, which was in general use throughout the XVIth century and until the final disuse of armour in the third quarter of the XVI Ith century, was fashioned under the influence for all that it was to a certain extent an inevitable of antique forms; but development from the salade and the chapel-de-fer. We see it in its first
vision;
so
to
follow the
fashion of the
stages as early as about 1510-30 among those bizarre head-pieces figuring in the splendid Italian sculpture of the Renaissance. Michael Angelo utilized
such a head-piece on his world-famous statue on the tomb of Lorenzo de' Medici, in the New Sacristy of San Lorenzo, Florence (Fig. 12 10); while the helmet of the famous Perseus of Benvenuto Cellini, in the Loggia de' Lanzi, Florence, cast in 1545, but not completed till 1554, is an open casque
of the most elaborate type (Fig. 121 1). Sir Samuel Meyrick uses the term "burgonet" to describe an entirely closed helmet which has its lower edge
grooved to fit the top rim of the gorget, as can be seen in the illustrations of the helmets illustrated in Figs. 1169 and 1204. It would appear that Sir Samuel as also Planchd adopted this nomenclature on the authority of
President Fauchet's Origine des Chevaliers Armories et Heraux, Paris, 1600 and 1606; but in the opinion of the present writer the Baron de
IV
125

Cosson in his " Helmets and Mail gives the true interpretation of what Fauchet intends to say. Fauchet, after speaking of the great helm goes on to remark: Depiiis, qiiaiui ces Heaulnies out inieiix represents la teste (fun homme, Us furent nominee Boiirgiiignotes : possible a cause des Boiirgnignons inventeurs : par les It aliens Armets, Salades, on Celates" The Baron de Cosson submits this quotation to the following criticism: " Now, if this sentence be carefully examined in its entirety," for in the past writers have only half quoted it, "we shall find first, that there is nothing at all to show that a close helmet fixed to the gorget by a rim at its base was
''
"
Fig. I2IO.
From Michakl Angelo's tomb of

Lorenzo
Medici
de'
Fig. 121
1.
Back view of the head of
Cellini's statue of Perseus

In the Loggia de' Lanzi, Florence, showing the winged grotesque hehnet with a mask at the back. It has been
New
Sacristy, S. Lorenzo,
Florence
suggested by Signor Annibale ISenedetti that the back view of the casque, from beneath which the curly hair of Perseus is seen, viewed as a whole, was intended by Benvenuto Cellini to be a portrait of himself
a burgonet rather than any other form of close helmet, there being no suggestion of the kind; secondly, that what it really does say is, that when the helmet ceased to be the great cylindrical heaume of the Xlllth and XlVth
centuries and fitted
more
closely to the form of the head,
it
took the various
of burgonet, armet, salade, and celata." It must be observed that the colons before and after the supposition concerning the origin of the name bourguignote stand for brackets, the sentence reading without the parenthesis.
names
" In short, it Us furent nonimez Bourguignotes Armets Salades ou Celates. that any one peculiar form of the close is a purely gratuitous assumption
126
BURGONETS OF ITALIAN ORIGIN
objections In 1595 the great military writer, Sir John Smith, " in his Iiistyiictions Militaires, I says of light cavalry called Stradiotes, would wish them all to bee armed with good burgonets and buffes, with
helmet is there identified with the burgonet, and as we examine other texts in which this word appears we shall find the to Sir Samuel gravest
Meyrick's supposition."
with cuirasses, with backs, and with long cuisses." The burgonet in this case must mean an open helmet, for are to be furnished with they " buffes." At a later date a letter from Cardinal Richelieu to the Cardinal de la Valette, alluding to the formation of a new cavalry force, tells us
collars,
exactly
Fu;. 1212.
Italian, late
Casque SAL.ADE
XVth
century.
From
le
from that of Philippe
and possibly the armoury of Charles Beau. C 1 1, Royal Armoury, Madrid
what was meant by a burgonet in his day. He states that this force was to be armed with une bourguigiiote coiivrant ies deux jones avec une barre sur le lies, in other words \\ ith a head-piece such as we see in the open nasalguard helmet of Cromwell's time. This analysis of Fauchet's remarks goes, therefore, to show that the burgonet was not a close helmet of any kind, but an open one; since, therefore, with the exception of the morion and cabasset, of which we shall speak later, the casque was the only other form of open helmet in use in the XVIth century, the burgonet must refer to that form of head-piece. As a forerunner of the open casque, but most distinctly a head-piece of the latter part of the XVth century, we mention here that salade127

like
It
helmet which can be seen in the Royal Armoury of Madrid (Fig. 12 12). was part of the original collection, for it is mentioned in the Inventario
Iltiminado, where, ancient one which
amongst other helmets, it is illustrated and noted as an came from Flanders {yiejo venido de Flandes). It must therefore have originally belonged to Philippe le Beau or to his father. It is considered one of the rarities of the Madrid not only on armoury, account of its beautiful workmanship and design, but owing to the fact that,
could, by adapting for this purpose the additional pieces which are affixed to it by claw hinges, be transformed into a tournament headif
desired,
it
FlG. 1213.
BURGONET
century.
North
piece.
Italian, early
years of the
XVIth
Museum
Without these
and with
this
war
gold,
time.
becomes simply an open helmet for use in The revolving mezeil and the wings are of steel enriched with
pieces
it
niello work.
The
other
decorations
its
Although
helmet has no armourer's mark,
of gilt bronze. workmanship and the

are
decoration of the pieces affixed to it are of a marked Italian character: indeed, the capricious elaboration of their enrichment reminds one of those helmets which, at a somewhat later date, were said to have been made from
the designs
earliest
da Vinci and other contemporary artists. The open helmets of the actual casque type which we can mention are of
of Leonardo
Italian origin, as, for instance, that very early
XVIth
century helmet in the
128
BURGONETS OFHTALIAN ORIGIN

late
Mr. William Burges' bequest to the British Museum, which Meyrick terms, but on what authority the author is at a loss to discover, a
4k

decorated, as
to
is
indeed the whole suit
which it belongs, with engraving and with diamond -shaped proiections embossed all over the surface, is to be seen in the Bargello Museum of Florence (Fig. 12 14). Another
casque,
devoid of decoration, but belonging exactly to the family to
Fig. 1215.
Salade burgonet
about 1510.
d'Artillerie
which the Burges example is akin, is to be found in the Porte de Hal,

Brussels; while in the Musee d'Artillerie are exhibited two that came
North
Italian,
38,
Musce
from the Isle of Rhodes, one of which, H 38 (Fig. 1215), bearing a Milanese mark and dating about 1510, In the Wallace Collection (No. 234) is almost salade-like in appearance. in the collection of Sir Samuel Meyrick, and is the example formerly which he ascribed to the XVth century. In reality this specimen is even later than the few just mentioned, being probably Milanese of about 1520
(Fig.
1
2 16).
The
open
casque, derived as was from the it
form of the helmets of antiquity which appealed so

the to strongly artists of the later
Renaissance, soon became the subject
most exuberant and grotesque schemes of

of
the
decoration, noticeable not only in the
matter of surface
enrichment,
in
'
but
.
North
Italian,
,
1
Pk;.
2 16.
BURGONET
the
way
the
in
which
very
about 1520. Wallace Collection (Laking Catalogue, No. 234)
130

outline of the head-piece was affected. For very complete proof of this, there are in existence not only Leonardo da Vinci's drawings of parade headwhich are of course masterly designs of exuberant ornamentation pieces,
(Fig.
1217),
Before
we
but existing helmets showing the same elaboration of form. allude to these, however, we will examine a few of those finer
^^H

face,
with rays, possibly that of Apollo. The comb has a cable along the edge, beneath which on the flat is a row of raised and gilt dentations disposed radially. The comb ends in leaf design on the peak, the rest of which is decorated to match the comb. The ears and neck-piece have foliated
Fig. i2i8.
Burgonet
Made by Caremolo di Mondrone of Milan in 1533, and presented by Federigo Gonzaga, Duke of Mantua, in 1534, to the Emperor Charles V
In an English private collection
but the scalework plates which completed the ear-pieces are nowwanting. The plume-holder remains. The under side of the neck-piece and the umbril are gilded. On evidence that is irrefutable we are able to state that this casque was in the year 1534 presented, together with other armour,
scrolls;
to the
Emperor Charles
by Federigo Gonzaga, Duke of Mantua, and was

132

Mondrone, the famous Milanese armourer vvorkin^^ in This casque is represented in the album of drawings of the armour belonging to the Emperor, made by his order, and now preserved in the library of the Royal Palace at Madrid, and to which the Count de Valencia so often refers in his catalogue. In this album it figures, along with a complete suit of armour and other pieces, among which is the celebrated helmet representing a head of hair and a beard, signed by the brothers Negroli of Milan, and dated 1533 (Fig. 1231), and the pageant
the service of the Duke.
made by Careniolo
di
Reproduction of the original drawing of the casque Taken from the inventory of the armour of Charles V, drawn up on his death by order of Philip II. The volume was formerly preserved'at Simancas, now
Fig. 1219.
in the library of the
Royal Palace, Madrid
by the brothers Negroli (D 2 in the Royal Armoury, Madrid). In the inventory of the arms and armour of Charles V, drawn up at his death by order of Philip II, and preserved in the archives of Simancas,
these pieces are described as a gift of the Duke of Mantua to the Emperor. Amongst them are Dos morriojies. Both helmets are represented in the album, the first decorated like the suit of armour, and the second embossed
all
shield, also signed
on a russet ground. Both are of the same form; Vvegivea facsimile of the drawing of the second which appears in the inventory (Fig. 12 19). Hie suit of armour, but in an incomplete state, still exists at Madrid (A 114
gilt
and
IV
133

the catalogue of 1898), as well as the Negroli helmet (Fig. 1231); but both the morriones and the other extra pieces are wanting. The Caremolo
in
Spanish Crown until the year 1838, when it and much other superb armour was secretly removed, and sent to London for sale by auction. In that sale, which took place at Christie's in January 1839, the helmet (Lot 74) was bought in, but eventually disposed of to Mr. Hollingworth Magniac, the famous mid-XIXth century collector. In 1892 Messrs. Christie's sold the famous Magniac Collection. After the collection had been removed from Col worth, the seat of the Magniac family, the sale of the ordinary household utensils was entrusted to a smaller firm of auctioneers, who found this precious helmet in a cuphelmet remained
in the possession of the
board.
the ordinary articles of furniture it It was purchased by a dealer realized a sum considerably less than ^^. who in turn passed it on to one of the foremost antiquaries of the day.
offered for sale
When
among
This antiquary, realizing its great bargain he had acquired, sold it
artistic
worth, and appreciating the great
for as
many hundreds
of
pounds as was
paid in pounds at the auction; but he himself was unacquainted with Its Spanish provenance the great historical importance of the helmet. but its identity as a head-piece worn by the Emperor was suspected;
was only ascertained when the album of drawings of arms belonging to the Emperor was consulted, to which we have alluded, and in which it is described and illustrated. The name of the armourer who made the helmet "knd the other pieces of armour which formed the Duke of Mantua's gift to Charles V, and the date at which he made them, have been discovered in documents found in the archives of Mantua, and published by Bertolotti [Arti Minori alia Corte di Mantova, 1889). Caremolo di Mondrone, the armourer who constructed the casque, was born in Milan in 1489, and died at Mantua in 1548. This very fine historical casque has only recently changed hands it is now in one of the important
Charles
:
English collections.
exaggerated grotesque, carried out in the design of an open head-piece, we turn to that remarkable casque in the Tsarskoje-Selo of Petrograd, known as the helmet of Guidobaldo II, Duke of Urbino, 1514-74
illustrate the
To
(Fig, 1220), which, according to the late Meister der Waffenschmiedekunst, is the
Herr Wendelin Boeheim, in his work of a Florentine armourer, one Piripe, known as Pifanio Tacito. It is now known that such an armourer never existed, and that Herr Boeheim was led astray by an allusion to such a person made by a certain Antonio Petrini, who in 1642
134

wrote a manuscript, now in the National Library of Florence, entitled Arte Fabrile, ovvero Armeria universale, etc. We have to thank the Baron de
Cosson for enabling us to dispose of this mysterious Piripe. Enlightenment came about in this way. Placed by Boeheim as a Florentine armourer of the
XVIth
century, the
name
of Piripe always troubled the Baron; for neither
Fig.
220.
BuRGONET
Made by Bartolommeo Campi
of Pesaro and worn by Guidobaldo II
of Rovere-Montefeltre, Duke of Urbino (1514-74). In the Tsarskoje-Selo, Petrograd
Piripe nor Pifanio had any resemblance to a Florentine name. Some ten years ago the Baron de Cosson copied out that portion of Petrini's manuscript that had reference to armour and weapons, a somewhat inaccurate transcription of which had appeared in Plon's Beiivemito Cellini (Appendix X, page 397).
"There This, according to the Baron's copy, is what Petrini really does say: is to be found in the armoury that belonged to the Duke of Urbino, and
which now belongs to the Grand Duke of Tuscany, a helmet with
135
its
breast
Fk;. 1221. Breasti'late
The work
of Bartolommco
Campi of
and worn by Guidobaldo
Pesaro, made at the same time as the burgonet, II of Rovere-Montefeltre, Duke of Urbino
fig.
1220,
Hargello
Museum, Florence
136

and shoulders, which is said to have belonged to Hannibal the Carthaginian."
Then
follows a de-
scription of the
it,
work on
which
sponds helmet
exactly correto that of the
at
Petrograd and
to that of the breastplate (Fig. 1 221) and to the left
espalier (Fig. 1222) in the Bargello, Florence, also to
the
right
espalier
(Fig.
1223) now associated with the Duke of Alva suit by
Picinino in the Riggs Col-
Metropolitan Museum of New York. After

lection,
expatiating on the beauty

of this work, Petri ni goes on to say: {Translatioii) Belonging
Fk;. 1222.
to the burgonet,
Left pauldron
"It was made, so afifirms
fig. 1220, and the breastplate, fig. 1221 Bartolommeo Campi. Bargello, Florence By
Macedonian (Felitiano Macedonio), a most excellent sculptor, who later by Piripe, was called Pifanio Tacito, who was a hero in
Felitian the
same armoury a salade of ^neas the Trojan, which was purchased by Duke Guidobaldo of Urbino when he was General of the Republic of Venice, and it is considered a great marvel. On it are embossed two masks, one on the crown-piece, the other on the visor, and this was made by Repa, the son of Niima the Babylonian, according to the statement of Demosthenes." The Baron de Cosson wonders, as must everybody who reads
this art.
There
is in
the
Fk;. 1223.
Right paui.dron
I'Vom the same harness, associated with a Picinino suit.
Riggs Collection, Metropolitan
Museum, New York
with his excellent knowledge of Italian, could have made such a blunder; for, as is at once apparent, Petrini never suggests that Piripe was a Florentine
the quotation,
how Boeheim,
137

armourer of the XVIth century, but assigns the helmets made by him to the days of Hannibal the Carthaginian. Boeheim might just as well have made a Venetian armourer of Repa, the son of Numa the Babylonian. We can go a step further and state that even the authority quoted by Antonio Petrini, the " Felitiano Macedonio," who is said to have mentioned
mysterious Piripe, is as apocryphal as Piripe himself; for, despite the quest undertaken by Mr. Hill in the British Museum for a writer of that name, and the researches made by the Baron de Cosson in the National Library of Florence, absolutely no record of the name can be found. In the author's opinion there is no evidence to support the statement that an armourer
this
named
Piripe ever existed.

little
There can be
doubt that
it
was Antonio
Petrini,
described as a
nephew of a grand-ducal armourer, who, in the year John Evelyn round the armoury of the Grand Duke and made him admire "Hannibal's head-piece"
1644, showed the famous of Tuscany in the Uffizi,

(the
Petrograd helmet, Fig. 1220) and the sword of Charlemagne.^ It is an amazing thing, however, when we come to consider it, that little more than a century after the helmet was actually made and worn it should have come to be attributed to classical times. There is not a particle of evidence that any great armourer or school
of armourers ever existed at Florence.
The
archives of that town have been
thoroughly searched for everything concerning her artists, and no name of a celebrated armourer in Renaissance times has yet come to light. But now let us attempt to throw some light on the actual maker of the We fine casque at Petrograd, over which so much controversy has arisen.
know
that the
famous
suit of
Roman
fashion,
now
in the
Madrid, was given by Guidobaldo II to Charles V in and dated we know that it was made by the goldsmith of Pesaro, Bartolommeo Campi (Vol. iii, page 276, Fig. 1051). We are also aware of the fact that this same Campi made many rich suits for Guidobaldo from about 1543 to 1546, suits which up to the present have not been identified. Thanks to the most recent researches of the Baron de Cosson certain other pieces from the same hand have now been recognized. Foremost among these is
fashion, in the Bargello, Florence (Vol. iii, page 288, Fig. 1054), which, with the figured mail at the neck, bears such a remarkable similarity to the classical Charles suit at Madrid,
Royal Armoury of 1546, and as it is signed
the
beautiful
breastplate
of
Roman
'
When John
Ray, F.R.S., visited the armoury

. . .
armoury we saw several remarkables. on it many ancient Moresco characters"
" In the 1663 he recorded in his Travels: Hannibal's head-piece (as they called it) had engraven
in
(vol.
i,
p.
286, ed. 1738).
138

just referred to, and which no doubt may have given the idea for the suit made later for Guidobaldo for presentation to Charles V. in the armour
Now
Bartolommeo Campi there are certain curious features in the form and technique that are more easily explained if the work be regarded as that of a gold- and silversmith rather than of a professional armourer. As
ascribed to
these characteristics are present in an accentuated form on the breastplate in the Bargello, its theme of ornamentation, Burne-Jones-like in its treatment, consisting of dragons' wings studded with human eyes (Fig. 1221), a species oi fauna described in the first canto of Ariosto's Orlando Furioso,
then
all
we have no
maker.
hesitation in saying that Bartolommeo Campi was its designer and As, too, there exists at Vienna a portrait of Guidobaldo II, Duke of
Urbino, wearing this breastplate and the Petrograd casque, there can be no doubt that the casque is also the work of Campi; for in this again can be seen wonderful sculptural designs, designs which are grotesque and
spirited,
but which are
difficult
to accept as
a head-piece.
The mask
of
some horned marine monster
the appropriate decoration of constitutes the
skull-piece of the casque, the crest of
dolphin, whose head lies Above the ear-pieces are reptile-like wings. In the Imperial Armoury of Vienna
which is formed by the body of a snug between the horns of the former beast.
is
a parade shield with an accompanying burgonet-casque (Fig. 1224), which is almost as grotesque as the last piece described. They belonged to the Archduke Ferdinand of Tyrol, and, according to the late Wendelin Boeheim, are the work of an armourer,
Giovanni Battista Serabaglio, in whose actual existence we have no faith (see vol. iii, page 294). Though in outline the casque is of the more usually " " form, a great monster constitutes its crest. On either accepted antique side of the skull-piece are figures of Neptune and Hercules. Upon the umbril is a splendidly embossed grotesque mask of a marine monster. The whole is enriched with plates of gold and silver, and very richly damascened with gold. The element of the grotesque is here shown in a somewhat later form. The date of this casque is about 1560-70. Perhaps a little earlier in manner, and certainly more robust in its workmanship, is that most beautiful casque which from the point of design is the finest example of the armourer's art of its kind (Fig. 1225, No. 108 in the Wallace Collection), a casque which must surely come from the workshop of some sculptor in bronze rather than from that of an armourer. The difficult medium of stubborn iron has so
affected the treatment of its boldly rendered ornament that the freeness of execution is only to be matched in a cire perdue bronze of the latter part
little
139

century. This may perhaps be a head-piece that actually reproduces one of the many designs of the great Leonardo. Inasmuch as this casque is a national possession, and accessible to all, we feel justified in
of the
XVth
giving a detailed description of

in
It dates from about 1540, and is one piece and embossed from the interior, in some parts to a forged height of 2f inches, the work being executed throughout with the greatest
it.
Fig. 1224.
Italian,
BuRGONET
to have been worn by the Archduke Ferdinand of Tyrol. Imperial Armoury, Vienna
made between 156070, and supposed

surface
is
patinated to a dark russet colour, and the ornamentation is disposed in the following fashion. Above the forehead is the upper portion of a grotesque face, with moustachios, strongly hooked nose, and small receding eyes, above which are the bushy eyebrows. From
possible spirit.
The
between the eyebrows springs an acanthus leaf ornament which is continued to the back of the comb of the helmet, to form the crest. An ear-like form is represented on either side of the skull, and behind it, below the rivets that
140

enriched with gornucopiae. The neck guard is finished by an outward turn forged to a leaf pattern. There is a brass shield-shaped plume-holder at the back, and also a row of brass rosetteis
secured the ear-pieces, the surface
headed rivets by which the lining strap was formerly secured. Underneath the extreme front of the helmet is attached, by rivets, a movable plate, embossed in the form of teeth; round the lower edge of which is a series of holes provided for the attachment of a lining. The ear-plates are missing. Of a little earlier date than this helmet are those three fine casques,
Fig. 1225.
BURGONET
Probably North Italian, about 1540 Wallace Collection (Laking Catalogue, No. 108)
two of which are certainly the work of the brothers Negroli of Milan, one of them being signed and dated 1545. We take these three casques next because they reveal certain eccentricities of form which recall the head-pieces of classical times. These three helmets are preserved in the
SO
alike,
much
Royal Armoury of Madrid, D 30 (Fig. 1226), in the Musde d'Artillerie of Paris, H 253 (Fig. 1227), and in the collection of the late Mr. Rutherford Stuyvesant of New York (Fig. 1228). The helmet in the Royal Armoury of Madrid is thus described in the catalogue of the Real Armeria: " Parade Burgonet made by the armourers Negroli in 1545 for the Emperor Charles V."
IV
141

the front part Victory and Fame are holding the moustaches of a Turk wearing the lorica and lying on his back, thus fancifully forming a crest.
On
In
damascened with gold. On the front, between on which in letters inlaid in gold are inscribed the two figures, is a shield, " the words: sic tva invicte oesar." Inside the umbril of the helmet is " f et era de negrolis faci a mdxxxxv." the inscription: The casque in the Musee d'Artillerie is also in the fluent style of these same armourers' work, and is ornamented with small arabesques of inlaid silver. Here the principal point of divergence from the Madrid example is the fact that the shield on the front of the helmet bears the following Greek inscription inlaid in gold, though much rubbed "TaV[TA]I2 npo: \\T?.[vk^" [Translation, "By them [Fame and Victory] The comb is formed by the body of a dead warrior, I reach the stars "). guarded by the figures of Fame and Victory embossed on either side of the casque. The Stuyvesant example, though fine in general form and equally good in outline, is inferior to the other two casques. In all three head-
many
parts the helmet
is
so doubtless pieces the general design is the same, with slight variation the general model was much in favour. The Madrid and Paris casques are
;
undoubtedly the work of the Negroli themselves but the Stuyvesant helmet, which is less skilful than the other two in execution, was probably the work of an apprentice. Paolo Morgia, in his Nobilita di Milano, 1595, says that " celate e rotelle miracolose," and that he had two Filippo Negroli made " " of the Madrid brothers who worked with him, the Filippus et fratres as we have been to the work of the brothers Negroli, a casque. Alluding characteristic feature of which is a rare feeling for the grotesque, we take the opportunity of referring to that curious open helmet of the casque type which is now to be seen in the Metropolitan Museum of New York (Fig. 1229). The skull-piece is in the form of the upper portion of the human head, showing a shock of curly hair admirably rendered, bound byachaplet in the form of oak leaves and gilt acorns. The ear-pieces are formed on the side pieces of the casque. This casque in the Metropolitan Museum of New York was purchased with the Dino Collection. Discovered at Seville in 1872 by the painter Fortuny, and sold in Paris after his death, it passed into the collection
;
M. Basilewski, who exhibited it at the Trocadero Palace in 1878. M. Piot purchased

of
Historical Exhibition at
it
the
from M. Basilewski, but sold it at a later date to the Due de Dino. In the Imperial Armoury of Vienna, and in the Royal Armoury of Madrid, are two other casques of the same kind, both signed by the Negroli; so it seems safe to consider that the Metropolitan
142
Fig. 1226.
BURGONET
Of
the
Fig. 1228.
BUkGONET
and
1227, but in this
Worn by
the Emperor Charles V, signed by the Brothers Negroli of Milan and dated 1545.
same model
as Figs. 1226
30,
case a school work of the Negroli. Kx Baily and De Cosson Collections, now in the Rutherford
Stuyvesant Collection,
New York

workshop. The helmet at Vienna belonged to Duke Francois Marie d'Urbino (Fig. 1230); while the Madrid specimen (D i) was sent to the Emperor Charles V in 1534 by Federigo Gonzaga, Duke of Mantua, as a mark of gratitude for the Emperor's gift to him of the Principality of Monferrat (Fig. 1230A). The Duke also included
also
their
in his
suit,
Museum example
came from
present several separate pieces of armour, together with the famous now lost save the helmet to which we have already alluded {anfe,
page 128, Fig. 1218). We may add that the chin-piece or bufife of the Madrid example is in the form of a man's beard; the upper portion, which was shaped as the eyes and nose, was a detachable piece, and is now missThe gorget plates are embossed with a representation of the Golden ing.
Fleece.
here interesting to describe and illustrate a buffe (Fig. 1231^), signed by Negroli and dated, which recently was sold at Christie's in the Breadalbane
It is
on 5 July 1917. The actual buffe is in two parts, working on the principle of the falling umbril with three gorget plates below; the upper plate of the buffe is embossed with a grotesque human face, the sneering and drooping mouth diverging below into a form of leafage. The surface is blued with a gilt decoration. Concealed between the first and second lames of the bufife is the signature: phi e fra de negrolis v, engraved on a gilt cartouche, whilst on the other side on the corresponding
sale for _;,î,i55 (Lot 86)
the date, md.xxxviii. In the author's opinion this piece is part of a burgonet made for the Emperor Charles or given by that monarch to
cartouche
is
some great the armour
figure of the time, and came from the Christie sale in 1839 of stolen from Madrid. The descriptions in the catalogue of that sale are so meagre that few of the pieces sold can be identified.
armourer's mark of the Negroli is to be found on these pieces, but the author here illustrates their well-defined mark (Fig. i23i<^) on a cuissard
of the
No
Musee
d'Artillerie suit,
which has already been
illustrated (Vol.
iii.
Fig. 1046).
Considering the work of the brothers Negroli in their more restrained but none the less still ornate manner, we must make mention of those two splendid head-pieces which are respectively in the collection of the late Mr. Pierpont Morgan of New York, and in that of Mr. S. J. Whawell. The former, which has lost its original ear-guards, is signed on an additional Doubtless forehead plate attached beneath the umbril of the piece. Mr. Whawell's casque was signed on a similar plate, which is now, however, missing,
though the
rivets that held
it
in
position are
still
to be seen.
H5
Fig. i23r.
(a) Bufife
Buffe
Italian,
(c)
and gorget
plates,
.
by the Brothers Negroli.
inscription: PHI E fra Ex collection:
de NEGROLIS
.;
1538 {b) Lower plate of the buffe The same with the date: MDXXXVIll.
;
with the
Marquess of Breadalbane.
Now
in
a private collection
146

The
general construction of the Morgan head-piece (Fig. 1232, a, b) will be observed to resemble that of the three helmets which are certainly the work of
In place of the figure of the 1227, and 1228). Roman warrior forming the comb, we see the figure of a woman, whose extended hands grasp the hair of a female mask immediately above the
the Negroli (Figs.
1226,
umbril.
The termination
of the figure
is
foliated finally to
merge into the
Fig.
23
IS.
Right
CUISS.A.KD
From
the
suit,
178, in the
Musee d'Artillerie, showing mark of the Negroli. Circa 1520

that
the armourer's
arrangement of
occupy generally the skull-piece of the helmet. The decorations on the sides of the casque have as a central ornament the half figure of a boy. The entire surface of this superb burgonet is a fine brown black; there are no traces of gold enrichment gold appearin the ing solely on the additional forehead piece, to which we have alluded, form of an inscription, the deciphering of which enabled us to identify this of. In the head-piece as one which for over half a century had been lost sight
spiral
scrolls
147

famous Brocas
1834, lot 366 [helmet] equally superb, with the master's piece: philipp' negrolv.' fecit, mcxxxiii."
sale held in
is
thus described:
date on
"Another
the
name and
It
then sold for ,,^29 85. its present value would probably be three hundred times that sum. Both the mistakes which occur in the sale catalogue of 1834 are susceptible of explanation. First as to the mention of a chin-piece. The casque never
chin
possessed a chin-piece; but to the uninitiated, the plate that we have described having once become detached in the fitting beneath the umbril
centre
would drop on
ance of a chin-piece. rust oxidization has in one place somewhat perished so that the Roman numeral d in .mdxxxiii was read as the numeral c, making it mcxxxiii. may add that the subsequent history of this beautiful head-piece from
to its side hinges, and so would assume the appearSecondly, as to the inscription. This through a little
We
its
appearance in the Brocas sale, and its purchase by the Due de Luynes, down to about the year 1900, is involved in obscurity. Dr. Bashford Dean, in "The Bulletin of the Metropolitan Museum of Art," April 1916, writing on the possible original ownership of Mr. Morgan's
was made within the years when Philip de Negroli was receiving commissions from the Emperor; and it is hardly to be supposed that he would produce at the same time and for a lesser personage a casque more elaborate and costly. Certain it is that, from the year 1533, when he commenced to fill the orders of Charles V, all of his extant signed pieces, with
It
casque, goes on to say: "
the exception of Mr. Morgan's casque, remain as part of the imperial heritage. But if the casque belonged to this court, why have we no record of so
not figured in the late XVlth century catalogue of the collection, or mentioned in the archives of the Royal Armoury? And if it did belong to the Emperor, how could such a specimen
important a piece?
Why
was
it
have been abstracted with impunity
even
at
a time
when many
incon-
spicuous pieces disappeared? " To whom, then, did the present casque belong? Clearly, to a personage of the very highest rank, and one who had the artistic taste to prize such a
possession. May it not have been Francis I? He was certainly the rival of the Emperor in many ways: he was even his superior as a patron of artistic
work, and he was certainly not his second as a lover of beautiful armour. know, in point of fact, that the King of France was much impressed
We
with the work of Philip and the brothers de Negroli, and we recall most interestingly that he was the ruling duke of Milan at the time when Negroli
148

was preparing this casque (1543); for Francis's last struggle to retain Milan was between 1542 and 1544, when by the Peace of Crespy he lost his duchy
to the
Emperor. Add to this that while such a casque could not reasonably have found its way out of the Imperial Armory it may well have disappeared from the French king's po.'?sessions, like so many other important arms which were scattered during the Revolution. So far as we know, moreover, It would be by no means the present object was long preserved in France. surprising, therefore, if a study of the French archives demonstrated that in 1543 Francis I paid Philip de Negrolis many broad French pieces for embossing a princely casque! When we consider Mr. Whawell's casque (Fig. 1233), which, as we have said, has probably lost the plate which had the signature ijpon it, we unhesitatingly pronounce it to be the work of Philip Negrolis; we notice once
In this instance we slight step in the direction of the grotesque. are able to identify the breast- and backplates that were made for and
"
more a
actually belong to the same suit as the helmet. They are now in the Louvre and 1058). Mr. Whawell's casque was (see Vol. iii, page 293, Figs. 1057 purchased in the first half of the XlXth century in Rome, by Sir Adam
Hay,
to the
It is
Bart.,
who
sent
famous Loan
together with a shield, to which we shall refer later, Collection held at the South Kensington Museum in 1862.
it,
"An Iron Helmet, with there described in the catalogue as follows: oreillettes ornamented with repoussd arabesques crested w ith a sort of sheaf
This beautiful helmet is doubtless the work of Paolo de' Negroli, a famous Milanese armourer of the XVIth century; the ornamentation and also the style of execution correspond prewhich is signed by the artist; in all cisely with those of the breastplate, probability it was the helmet ensuite with it." The italics are the author's; they are added to emphasize the association of this helmet w ith the breastwhich might indeed very plate illustrated in Fig. 1056 (vol. iii, page 289), to it, had not the author discovered easily have been mistaken as belonging at the Louvre the actual back- and breastplate, corresponding detail for detail with the casque. This casque, if not the finest, is at least one of the finest
ornament;
in front is a
dolphin mask.
examples of this particular type of the armourer's art extant. How skilfully the puckered-up mask of the marine monster diverges into foliage forms,
and how gracefully the
delicate tendril scrollwork occupies the surface of the is apparently of a slightly skull-piece! Of the ear-pieces, which are hinged, one later date than the casque itself, a late XVIth century restoration made seem-
ingly by an armourer
whose
skill
could not vie with that of the Negroli, a

150

certain tameness being noticeable in the rendering of the decorative theme. As in the case of the Morgan casque there are no traces of any form of
Fig. 1233.
BURGONET
Unsigned, but certainly the work of Philip Negroli of Milan, about 1540 Collection: Mr. S. J. Whawell
gilded decoration. blue-black colour,
The casque must have been finished with much of which is still preserved.
a surface of
intermediate link between head-pieces of the first and those of the second half of the XVIth century is furnished by the open helmets of
151
An

Italian origin of which we figure endeavour to explain in the text.
two to illustrate pictorially what we shall Both are of the semi-grotesque order as
Fk;. 1234.
BURGONET
its
North
Italian,
about 1550. There is tradition of having been worn by Andrea Doria
but the execution of the decoration shows great skill and regards form knowledge of the armourer's craft. By this we mean that the surface embossing is in the highest relief, and that the necessity of portraying a superimposed 152
;

subject has not caused the artist-armourer to indicate subjects supposed to be in the middle distance merely in flat chasing, but has stimulated him to render
embossing of the figures, etc., in the foreground. To get a better idea of what we mean, the reader should look at that most beautiful helmet (Fig. 1234), formerly in the Spitzer Collection, which in 1834 was purchased by Carrand pcre in Geneva from a member of the Doria family. On one side of the skull-piece is seen the figure of a boy mounted on a sea-horse. Though this marine monster is modelled with
it
in relief, necessitating- the ultra

Doria (1466-1560). There is a possibility of truth in the supposition though it must have been late in his adventurous career; for from the style of the
helmet's decoration the period of its production may be considered to be about 1550. cannot ascribe this casque to any particular armourer; but, as we have previously stated, whoever he was he must have been a master of
We
same unknown hand we would assign that fine helmet in the Wallace Collection, No. 104 (Fig. 1235). Here are to be observed the same chubbiness, if we may use the term, in the general outline, and the same
his craft.
To
the
The casque is formed on and in places gilt; the skull-piece classical lines. The surface blackened, is ridged and has embossed on either face the seated figure of a sphinx. Above the forehead, and continuing over the skull, is a design of overlapping
mid-Renaissance influence
in
the decoration.
is
back a spray of conventional honeysuckle covers the surface. Around the base of this is a twisted cable design. The umbril, in one piece with the helmet, is embos.sed to form the upper part of a dolphin-mask; while on the neck-guard the surface is broken up by deeply incised lines. The whole of the border is turned under to a roping, the contour being followed by a row of brass-headed rivets for the attachment of the lining. It was evidently worn as a casque de parade. It ne\er possessed ear-pieces, and is fashioned somewhat on the line of the Negroli burgonets
acanthus leaves; while
at the
(Figs. 1226, 1227,
and
1228).
century, we will now consider a most remarkable, and in its way unique helmet, well known as having been the gem of the Gatterburg-Morosini Collection dispersed in May 1894
Having
arrived at the middle of the
XVIth
(Fig. 1236, a,
b, r).
It
belonged to Vincenzo Morosini, one of the most
cele-
century, whose family came from Mantua and of which members sat on the Grand Council as early as the Vlllth century. This helmet was preserved with care by his descendants in the palace which bears their name in the Campo Francesco Morosini, near
brated Venetian Patricians of the
XVIth
It only left this palace, where it held a place of of Countess Loredana Gatterburg-Morosini, the last honour, after the death representative of Francesco Morosini, surnamed II Peloponnesiaco, the most
San Stefano
at Venice.
renowned of the Morosini. It passed into the collection of Monsieur Sigismund Bardac, and later into that of Mr. Joseph Widener of Philadelphia. The casque was considered by Monsieur Germain Bapst, who so ably described it,^ to be the work of the famous Paolo Rizzo after the designs of
'
Germain Bapst: Le Casque des Morosini.
Paris.
N.d.
Privately printed.
2 plates.

Alessandro Vittoria. It resembles the form of those helmets of antiquity which are seen upon the statues of Pallas Athene, the tutelary divinity of Athens. It has the high simply-moulded skull-piece extending in unbroken line to a long, straight umbril, in which are two eye-shaped ocularia. So that, if it were worn thrown back on the head, the advanced umbril guarded well the upper portion of the face; whereas, if it were worn thrust down upon the head, all the lower part of the umbril guarded the face, vision being obtained through the ocularia only. Now this casque has the constructional advantage over the helmet of antiquity that the umbril can be extended into a direct visor. The design is heightened with elaborate gold azzimina inlays. The curious nature of the enrichment found on this casque does not readily
suggest the identity of the armourer-artist who was responsible for it. Monsieur Germain Bapst, as we have already said, assigns the helmet to Alessandro Vittoria and Paolo Rizzo; but the Baron de Cosson feels, as does
the author, that the attribution of it to these artists is not convincing. Monsieur Bapst himself is careful not to present it otherwise than as a
based on a resemblance of the embossed ornaments to certain architectural designs made by Alessandro Vittoria, and of the damascening generally to that appearing on the famous
strong presumption.
This presumption
is
This casket, enriched with maps of various countries in marvellously fine gold damascening, is known to be the work of Paolo Rizzo, the most celebrated azsiininista of Venice. There is no evidence to prove that Alessandro Vittoria ever designed or that Paolo Rizzo ever executed armour, and there is no record of any great artistic armourer ever living and working in X'enice in the XVIth century. We have therefore been led to examine all the representations which we possess of richly decorated armour of the period in which the helmet was made, in the hope of finding some example which might throw light on its probable author. On one example of armour alone have we found a decoration similar to that seen on this helmet, o pavlvs db m:grolis .mm and that is on a breastplate signed i FECIT., formerly in the Magniac Collection, to which we have already alluded (Vol. iii, page 289, Fig. 1056). The scroll ending in a winged chimera which is found on the helmet appears on each side of the breastplate, along with much other ornament in the same style though it is rendered on the headWe do not attach much importance to this piece in rather grosser form. kind of scroll being in use amongst Milanese designers and workers in armour. But there is a circumstance relating to the signature on the breastcoincidence. plate i'A\ IAS Di' NEGROLis which is, to Say the least, a strange
Trivulzio casket.
.s
155

The Milan genealogy quoted by Angelucci names Claudia Moresini
as the
wife of Giovanni Paolo Negroli. Now there is a considerable amount of evidence that Moresini and Morosini were used as interchangeable forms of the same name, and Andrea Morosini himself in his history of X'enice uses
the form Morosini and Moresini quite indifferently, but on the other hand " " Claudia Morosini the Baron de Cosson has not been able to find any
Fig. 1236.
I'^xccutcd
BuRGONET ok the Morosini iamily

the
somewhat
(rt)
in
manner of Paolo Negroli of Milan, but probably a

century production helmet with the visor raised
Roman mid-XVlth
Profile view of the
Collection: Mr. Joseph Widener, Philadelphia
genealogy of the Morosini family which is recorded in a MS. The Baron de Cosson has also satisfied in the Marcian Library in Venice. himself that there were other Morosinis living at this time in Lombardy, who were in no way connected with the Venetian family of that name. However, despite this coincidence of names, and the likeness of the decoration to certain Milanese types of ornamentation, the author is not disposed to
in the detailed
156

accept the burgonet as the work of a Negroli or as emanating from Milan, but inclines to the opinion that it is the work of a Roman armourer. He admits that the helmet is designed on the Milanese model, but the embossing is heavy and the asziuiina damascening is unlike any which he can call
to
mind.
Fig. 1236.
ih)
{c)
Burgonet of the Morosini family
Front view with the visor raised. Three-quarter view with the visor lowered.
In the case of the earlier casques made by Picinino we have unqualified praise for their very exuberance of richness; but in the later works of this
the surface planes with enrichment is apparent. The great artist-armourers of the first half of the century, although they indulged in splendid decoration, were always careful to
armourer the desire to over-burden
all
leave
some
part of their
work
plain,
as
much
to preserve
the purity of
IV
157

form and outline, which was justly considered to be of paramount importance, as to create contrasts and thereby to increase the effect of the
chasing and embossing. It will also be noticed that the decorative scheme of the earlier armourers was always on a larger scale than that of those
of the second half of the
XVIth
cen-
chief anxiety seems to tury, have been to enrich the entire surface
whose
with designs in luxurious confusion, thereby weakening the general appearance of the work. But the first
two Picinino casques which we

;
illus-
trate reveal these defects in a far less
Fig.
-1
237.
BURGONET
order of the
pronounced fashion fortheyare in the armourer's earliest manner and were
By
Lucio Picinino.
consequently produced a little later Emperor than the first half of the XVIth cenCharles V for presentation to Archduke Ferdinand of Tyrol, between tury. Our first picture of a Picinino
Made by
1551 and 1552
casque shows (Fig.
237) a head-piece
from the Imperial Armoury, Vienna, which, together with the famous shield {post, page
according to the late Herr Boeheim, made by order of the Emperor Charles V for the Archduke Ferdinand of Tyrol, and presented to him on the occasion
222, Fig.
1298),
was,
of one of his visits to Innsbruck in 1551 or 1552. The monogram of Lucio Picinino is
on the shield in question, while an inscription on this helmet connects it with the shield and so with the gift. The Archduke was the founder of the collection of armour and arms formerly preserved in the Castle of Ambras, near Innsbruck. Several portraits exist showing him wearing this head-piece, which is de158
Fig. 1238.
Skull-piece OF A liUKGONET
Picinino, about 1560 Collection. Metro-
By Lucio
Ex
Dino
politan
Museum, New York

scribed as his in the inventory drawn up after his death; therefore certain. second casque, incomplete but of the (Fig. 1238), is in the Metropolitan Museum of New York,
its
origin
is
same form
and may be considered a work the casque just mentioned. This latter casque came from the collection of the Conde de Casa Rojas, Marquesa del Bosch, of Valencia in Spain. The style is good, and the enrichment is executed with admirable clearness. The crest of the helmet displays a combat between two tritons,
the
Collection,
Dino
formerly in contemporary with
separated by a vase of antique form. The actual crest is outlined with a knotty spray of leafage, a real masterpiece of workmanship. On each side of the skull-piece is a figure of a woman nude to the waist, terminating in
acanthus leaves, bordered with roses connected by swags of flowers. The neckpiece is missing; but the helmet is finished at the neck by a rounded piece of metal boldly chased. The hinged ear-guards, which are in two pieces, meet under the chin. The upper plate is decorated simply with a finely engraved rose round the air apertures, and on the lower lame is chased a satyr playing on an instrument. The gorget plate is chased to represent the scales of Roman armour. Numerous traces of gilding exist, showing that the foliage and other details of the chasing were originally gilt. The pivots that attached
the umbril are in position on either side of the casque. An examination of the fellow casque at Vienna shows that this one must originally have been completed by the addition of a curious out-curved neck-guard and an umbril
visor of most unusual form.^

is said"^ to
In the later
manner of Picinino
is
the next
Armoury of Vienna, have been presented by Duke William of Mantua in 1561 which Here can be to his brother-in-law, the Emperor Maximilian II (Fig. 1239). noted that over-luxuriance of design to which the general outline of the casque has been subordinated, a decadence of taste which cannot be sufficiently conhelmet, that interesting historical casque
in the Imperial
demned when,
adversely the constructional skill of Further evidence of this tendency to over-elaboration of the armourer. ornament is furnished by the helmet in the Currie Collection, now bequeathed
as in this case,
it
affects
to the Victoria
and Albert
in
lacking the historical interest of the
what superior
'
make.
:
example which, though Vienna specimen, appears to us someNotwithstanding that the surface of the helmet
Museum
(Fig, 1240), an
Cf.
1
Baron de Cosson
30).
Le Cabinet d'A rmes de Maurice de Talleyrand- Perigord, Due de Dino,

des A. Kaiserhauses, etc.,
90
1,
'
page 34 (B
Cf.
(2).
W. Boeheim: Waffensammlung
Wien, 1894, page
14,
Plate
XXVI

somewhat from rust azaunina damascening and plating
has
suffered
oxidization,
is
the
quality
of
the
in
gold
style,
fine
and strangely early
though we
It is
are unable to consider the casque as dating before about 1560. certainly the work of Lucio Picinino. It takes the usual form of a
mid-XVIth century burgonet exhibiting a decorative scheme admirably grouped, if, to our taste, overcrowded. The skull-piece is embossed on either
side
and
this decoration
is
in the
form of a medallion, with a
flat-raised
border covered with arabesqued foliage in gold. The left-hand medallion shows an armed warrior, beneath him a recumbent nude figure of a man.
KiG. 1239.
Burgonet
By Lucio
Picinino, about 1560. This head-piece, together with a shield, are supposed to have been presented, in 1561, to the Emperor Maximilian II by his brother-in-law, Duke William of Mantua
holding a short spear with a shield on her left arm, and having behind her a satyr; this subject probably represents Valour, with Cowardice at his feet, and sustained by Wisdom. The corresponding medallion depicts a partially draped female figure over a crouched her right foot resting on the base of a column and holding in her satyr right hand a viola, and in her left the chain enslaving the satyr; on the left
and by
his side a fully draped
woman
Mercury is coming rapidly towards her with a garland in his hand. As in the companion medallion, a walled city can be seen. Near the base of the column are two stringed musical instruments. In the front of the large
medallions, over the umbril of the helmet, are figures, partially draped in striped garments, emblematic of Fame and Victory. Behind the medallions,
160

comb, is a double plume-holder in the form of a shield, two children, surrounded by trophies of arms. The comb has supported by a roped edge, and three medallions on each side, the centre one showing a seated Cupid, and the others nude female figures; the space between
at the base of the
with vine-pattern arabesques in gold. The umbril has a medallion with a satyr's mask, strapwork, and groups of arms, and a narrow border of vine-leaf pattern in gold dividing these from the roped edge. On the neck-piece are crossed shields and banners, and on the ear-pieces
is filled
figures of
Cupids with a bow, and a torch; the borders are similar
to those
Fig. 1240.
BuRGONET
Collection: Mr. D. M. Currie
By Lucio
Picinino, about 1560.
on the umbril. Nothing is known of the history of this most attractive helmet save that it came from the W. H. Forman Collection, which was formed in the second quarter of the XlXth century. Guards of municipalities and the personal guards of great houses frequently had their particular head-pieces, which as often as not took the
form, in some shape or another, of the open casque. Of these head-pieces none are more famous than those worn by the guard of Cosimo de' Medici, Most of Florence" (1537-74) and Grand Duke of Tu.scany.
"Tyrant
of the important collections brought together in the past have examples In the Meyrick Collection was a specimen, Lord of such head-pieces.
Londesborough's Collection contained the example which we now

161
illustrate

(Fig. 1 241), the collection of the Baron de Cosson included one, and from the late Mr. Stibbert's Collection at Florence comes another example which
we
Several specimens again are in the Royal Armoury of while in the palace at Capo di Monte, near Naples, nineteen such Turin; head-pieces are to be seen. The existence of such a large number of these
figure (Fig. 1242).
casques, and the variation in the quality of their workmanship, make the author think that in all probability their attribution to the body-guard of
Fig. 1241.
Triple combed burgonet
Of the guard
of Cosimo de' Medici, Grand Duke of Tuscany. Thi.s example would appear to be of North Halian workmanship, about 1 570. Collection: Mr. D. M. Currie
Cosimo
de'
Medici
of the triple comb but from the fact of their duration for thirty-seven years as the more or less accepted head-piece of the guard one would expect to find, as is actually the case, a great variety in the quality of their workmanship. Cosimo de' Medici's reign of thirty-seven years is an important period of the XVIth century, and marks the change from the fine and conscientious armourers' work done in its
half to that disregard of constructional accuracy which characterizes the productions of its second half. The actual form of these helmets of the
first
correct; for not only can there be seen on either side of every one of them the Florentine fleur-de-lis dpanouie,
is
162

Medici guard, though distinctly of the casque variety, may be considered to have been founded upon the civilian velvet bonnet of the time, the three
combs being suggested by those German Landsknecht head-pieces to which we shall refer shortly. The surfaces of these Medici casques are russeted and partly gilded on the raised parts, and as we have said, fleurs-de-lis are embossed on either side; while a grotesque mask occupies the umbril of the
Fig. 1242.

Grand Duke of Tuscany. This example is of rather and of somewhat later date
Of the guard
of
Cosimo
de' Medici,
different
workmanship
to the preceding
skull-piece.
This family of casques may be taken as dating as a class, from about 1570; as it was in 1569 that Pope Pius V created Cosimo Grand Duke of Tuscany. We are inclined to think, however, that the Londesborough specimen now in the collection of Mr. D. M. Currie must be a
rather earlier type. Just as the Electors of
Saxony
in
the latter part of the
XVIth century
armed
their
body-guards with a particular pattern of morion (Figs. 1282 and

163

1283), so other princely houses are
known
to
have retained during several
generations the same form of head-piece for their personal attendants. The guard of certain of the Popes had their particular casque helmets; remark,
BURGONETS OF GERMAN ORIGIN

form and decoration of these casques are said to have been based on the original feel, however, that this is hardly likely to have desijrns of Michael Angelo. been the case; for the coarse and deep etching introducing the portrait of
We
Julius III, the plentiful gilding, and the field of black pigment upon which the general design depends, call for no particular admiration. Nor in the illustrate general design is the conception of a great master apparent.
We
an example from the Dino Collection (Fig. 1243). The fact that we have not illustrated the more ordinary and simpler head-pieces of the open casque order must not be construed by the reader
any depreciatory sense; many, indeed, are often much worthier of the name of helmet than some poorly constructed but over-enriched headpieces of the last decades of the XVIth century. We have omitted them simply for want of space, it being impossible to deal with the various subdivisions of every kind of helmet. Therefore we have had to content ourselves with the mere mention of the more important specimens of each branch
in
show the more ordinary types of open casque of Italian origin and those that the student is likely to come across in the course of his researches, we give two illustrations (Figs. 1244 and 1245), which, taken in conjunction with our descriptions of the more historical casques, will help to complete what we trust is a fairly comprehensive
that
we can
recall.
In order to
account of the different forms and types that existed.
A SHORT REVIEW OF BURGONETS OF GERMAN

ORIGIN, 1520-1610
In the nature of open casques are those head-pieces essentially
German
which we see in the engravings of Hans Sebald Beham (1500-50) preserved in the print-room in Munich. One of these plates (Fig. 1246), entitled
illustrate Landsktiecht of about the year 1540, is specially noteworthy. a very fine example of this school, half salade, half open casque, that is worthy of the closest scrutiny, No. 106 of the Wallace Collection (Fig. 1247).
,
We
The
strange, almost grotesque, design of this helmet is quite compensated for by the solidity and excellence of its workmanship; indeed, it recalls the famous casque made by Lorenz Kolman of Augsburg, 59 in the Madrid
Armoury.' The skull-piece of the Wallace casque has a slightly flattened

'
Illustrated in Catdlogo de la
Real Armiria por El Conde
de. Valencia, 1898,
page
30, Fig. 29.
IV
165

comb and
keeping with this is the short, slightly sloping umbril or brim, the border of which is turned under to a hollow roping, continuing down the sides and round the contour of the helmet. The lower In front of the skull is a neck-plates are of two laminated parts. dolphin's mask, with the skin and fins embossed and enriched in gold. This piece is attached at the top by a turning pin; on either side of this
fluted back,
in
and
central
mask
are the tails of the
same dolphins
also attached by turning
Fig. 1246.
Landsknecht soldiers wearing the burgonet of German fashion
With and without the bufie. From an engraving by Hans Sebald Beham (1500-50) are applied, the edges finishing by being pins. On this, again, the wings cut to a lambrequin design; while at their other ends they finish in an
embossed spiral hollow. The whole of the borders, fluting, and attached pieces have enrichments of gold. This fine helmet, which came from the collection of the Count de Nieuwerkerke, is certainly German in construction, and probably comes from the workshop of the Kolmans, if it is not the personal work of Lorenz himself. Its date is about 1530. A peculiar interest attaches to it on account of the fact that it is one of the few pieces of plate armour left in England which has that particular form of gold enrichment
166

used on
tion of
its
surface,
is
which
as employed on the casque in Madrid, the decorasaid to have been the work of the Augsburg engraver,
Daniel Hopfer. (This same method of gold application was occasionally used in the enrichment of the blades of XVth century Italian swords and
The only other examples in cinquedeas, see Figs. 657, 845, and 862.) England, known to the author, of this form of surface enrichment are on the
blade of a beautiful Bolognese cinquedea in the collection of Lady Ludlow and on the pair of knee-cops in the Tower of London (Class III, Nos. 849-50), which must have been stolen from the Royal Armoury, Madrid for they can
;
be found depicted in the famous Inveittario Iltiminado of the principal armour of the Emperor Charles V.^ They were purchased at the Christie
Fig. 1247.
BuRGONET
Probably the work of Lorenz Kolman of Augsburg, about 1530 No. 106, Wallace Collection
Other types of German casques are those low-crowned triple-combed helmets with ear-pieces such as can be seen in of casques of this kind, Burgkmair's "Triumph." Two excellent examples such casques as were often worn with those bizarre slashed costumes of the
sale of 1839 (Lot 81, ;^2 %s).
Landsknecht
are
soldiery,
shown
in the
We
should say
century.
XVIth
helmet with the
one still retaining its original outer covering of cloth, National Bavarian Museum of Munich (Figs. 1248 and 1249). that both these helmets date within the first half of the In the Stibbert Collection of Florence is another such comb more definitely accentuated; but judging from
triple
it,
the type of etching that enriches

distinctly
'
we
are inclined to think that, although

is
German
This
in fashion, this
is
casque
in
North
Italian in
vol.
workmanship.
166.
illustration
reproduced
Mr. iToulkes' catalogue,
i,
page
167
Fig. 1248.
Triple comuep burgonet

It retains 1540. of cloth covering
its
Fig. 1249.
Nuremberg make, about
original
Nuremberg make, about

1540
Both
in
the National Bavarian
Museum, Munich
Fig. 1250.
Probably North
Italian, but of German fashion, about 1540-50 Collection: Stibbert, Florence
168

In the case of this example an outer covering of velvet can be seen upon the but this was a clever restoration added by Mr. Stibbert skull-piece; (Fig. 1 250). The general lines of this type of casque with hinged ear-pieces are followed in the case of that attractive little head-piece which was formerly in the Max
the skull-piece, which has a single low comb, is a finely etched composition which introduces on one side a subiect from the Apocalypse, chapter v, verse 5, with the following
(Fig. 1251).
Kuppelmayer Collection of Munich
Upon
Fig. i25i.'^Burgonet
German, dated 1546.

Collection:
It is
probably decorated by Heinrich Vogther

late
The
Herr
Max Kuppelmayer
ecce vicit leo de tribv jvda radix davit, and on the other another chosen from the 1 19th Psalm, verse 154, with the inscription domine VIVIFICA ME SCDM VERBV TVV PSALM CXIX VH 546. Herr Kuppelmayer considered that the initials V. H. were those of the This finely decorated casque engraver, Heinrich Vogther of Strassburg. came from Neuburg on the Danube, and is said to have been worn by Johann In the collection of the late Herr Casimir, Count Palatine of the Rhine.
inscription:
:
Hefner-Alteneck (Fig. 1252) there used to be an etched casque of great 169

beauty of construction, the enrichment of which was probably the work of Peter von Speier of Annaberg. This helmet, like others we have mentioned,
had portions of its surface overlaid with a textile substance, in this case black velvet, which was sewn to the metal foundation by means of threads passing through fine perforations; these edged the general contour of the helmet and its bands of enrichments. In the interior was the original lining. Hefner-Alteneck acquired this casque in 1861 from the Castle of Hohenaschan. Its probable date is within the second half of the XVIth century.
BURGONErS OF GERMAN ORIGIN

entire surface is covered with well-designed arabesques introterminal figures and griffin-like monsters, the groundwork of the ducing design being filled in with a black pigment. Although the author has seen etching by the same hand on other plate armour, notably in the Nuremberg Collection, he is quite unable to credit it to any known armourer or armour artist. The date of this casque is about 1580, but the second one
two.
Its
(Fig. 1254),
though earlier in style, bears the date 1607. Needless to say, many armourers of other nations whose works have not been identified produced similar simply etched casques; but the four we have
Fig. 1253.
BURGONET
Fig. 1254.
BURGOiNET
German, about 1580. National Germanic Museum of
German, of a mid-XVIth century style, but dated 1607. National Germanic Museum
of Nuremberg
Nuremberg
enumerated are essentially German parade head-pieces. In the second half of the XVIth century many gorgeous casques of the more ornate type were produced in German workshops. There is in the Musde d'Artillerie of Paris
a finely conceived casque, 251 (Fig. 1255), described in the catalogue as being Italian of the middle of the XVIth century. But the question ask arises, is it Italian, or German produced under Italian influence?
We
this question as to its nationality its decoration bears to that seen
on account of the very great resemblance on two suits in the Imperial Armoury
^
of Vienna, one
'
made
XVII
for
in
the
Archduke Jêrdinand of Tyrol,

171
the other
vol.
i.
Illustrated in plate
Von
Sacken's K.K. Ainbraser-Snmmlung,W\tn, 1859,

accredited to the
Archduke Carl von Steiermark {ante, page 75, Fig. 1154). Now these suits are recorded as the work of that mysterious armourer Jacob Topf of Innsbruck, who according to Wendelin Boeheim was born about 1530 and died about 1587.^ To the English collector the name of Topf recalls to mind the Greenwich school and that large series of harnesses made for
representative English families of the close of the
XVIth
century which are
Fig. 1255.
BuRGONET
Probably German v/ork and possibly by Jacob Topt of Innsbruck
251,
Musee
d'Artillerie, Paris
We
familiar to us through the Jacobe MS. in the Victoria and Albert Museum. have already discussed the improbability of there being any connection and Jacobe {ante, pages \2 et segq.). The work of Jacob Topf between
Topf
Vienna Armoury is precisely like the decoration found conupon the casque to which we are alluding in the Musee d'Artillerie, a little embossing, and lines of incrusted sisting of gilding, flat tool chasing, silver studs or pearls. The shape of the casque certainly shows a strong
on the
suits in the
'
W. Boeheim,
Meister der Waffenschmiedekunst, Berlin, 1897, page 217.
172

be from the hand of Jacob Topf this can be easily understood; as before he worked at Innsbruck, Topf is known to have been in Milan, and consequently would have been acquainted with the work of the Milanese armourers. Therefore we take it that this casque is a parade
Italian influence.
if it
But
Fig. 1256.
BURGONET
German work about
1570.
helmet of German workmanship, but very strongly influenced, both as regards form and decoration, by the Italian training of the armourer. It is not until the (Jerman armourers of the second half of the XVIth
century essay to imitate the richly embossed and damascened parade casque of Italian origin, for which by that time there was a universal demand, that one really notes how debased became the forms of such enrichment, as
applied to the surface of plate armour.
IV
The example we
give of a
German
AA
173

casque thus enriched is in the Imperial Armoury, Vienna (Fig. 1256). It is a representative German parade head-piece characteristically overloaded with decoration. Confused battle scenes, strap- and scrollwork, and
inscriptions seem to struggle with one another for supremacy in the decorative scheme; with the result that the enrichment appears as a confused mass of ornamentation, contravening every canon of art by its over-
abundance and lack of a principal theme.
The
iron,
through having to be
Fig. 1257.
BuRGONET
Probably German workmanship under Italian influence, about 1570 Wallace Collection (Laking Catalogue, No. 638)
fired so
many times in the process of carrying out the elaborate embossing, has lost much of its fine elastic quality. It is also affected in colour, with
the result that where a bright surface is exposed it is of a leaden appearance. In the general aspect of this casque a want of solidity is manifest, lending it the appearance of being made out of sheet iron rather than having been hammered out of the solid metal. However, despite these criticisms there is much to admire in this helmet, an elaborate example of an open casque made
by an unknown German armourer of about 1570. In the older catalogues of

174

the Vienna
Armoury
Emperor Charles V;
In the Wallace
stated to have been formerly the property of the but there is no evidence to establish this attribution.
it
is
an embossed parade casque that in the official catalogue of that armoury is described by the author as being Italian; more recent examination and fresh comparisons have, however, convinced him that it is German both in workmanship and design (No. 638, It is a far more solid head-piece than the one we have Fig. 1257). just alluded to while the most elaborate overlay and inlay play a great part in its enrichment. The skull-piece has a high roped comb. The umbril, which is part of the same piece, projects for some distance over the face, as in the case of most helmets constructed on classical lines. The cheekpieces are hinged. The surface decoration is divided in the following manner. On either side of the comb is an oval panel, containing on the one side a composition of Leda and the Swan, and on the reverse Venus nursing Cupid. Abutting on these medallions are panels of musical and military trophies; both the groundwork of these and of the central medallions are plated with gold and minutely finished with a tooled annular design. The
Collection
there
is
;
edge of the comb is shaped as the bodies of spirally intertwined snakes, the heads of which appear over the umbril; the bodies are engraved with scales and plated with silver. On either side of the skull-piece are upright oval panels, one containing the subject of Horatius Codes on the Tiber Bridge facing the army of Porsenna, the other that of Metius Curtius
In the triangular panels at the sides of the central composition are trophies of Roman armour. In the centre of the umbril is the head of Medusa with griffins at the sides; the same ornaments
leaping into the
pit.
are repeated
on the neck-guard
though the mask
is
that of a
woman
in
repose, with Grecian head-dress. The ear-pieces are embossed with griffins, but they do not belong to the casque. The work of this most highly wrought helmet is embossed and chased, and the surface russeted; thick
gold and silver plating are
much used
as an enrichment.
The
fine details
of the armour trophies, of the figures, and of the bordering to the panels, etc., are carried out in gold and silver damascening with which most of
the
russeted surface
is
relieved.
The
date of the helmet
Sir Richard Wallace purchased this casque in who acquired it from a collection in Munich.
about 1570. 1882 from Mr. Durlacher, It was sold to Sir Richard
is
Wallace
high price of _;^2,300. When the author adversely criticizes the art of the German armourer as the second half of the XVIth century progresses, he is alluding to the
175
for the then

German
taste in
embossing
the latter half of the
XVIth
figure subjects. Even then only the designs of century are at fault; for among the mid-XVIth
most justly world famous are those of German origin. The Worms of Nuremberg, the Wolfs of Landshut, and the great family of Kolman of Augsburg are all artists honoured pre-eminently for their skill in the armourer's craft. To-day we recognize their work, not so much as that of individuals, but as standing for particular styles which each house originated; for instance, when we allude to a head-piece or other
century armourers the
Fig. 1258.
for Philip II of Spain.
BURGONET
German, by Wolf of Landshut. From a comprehensive harness made

Collection: Mr. Felix Joubert
armament as made by Wolf of Landshut, we do not necessarily mean that it is the work of Sigismund Wolf, but that it is inspired from the school
which Sigismund founded. These remarks on the characteristic qualities of the mid-XVIth century armourers of the German school have led us somewhat away from our
subject of the open casque; but we feel bound to pay a slight, if belated, tribute to those beautifully made and appropriately decorated casques that come within the category of the Wolf of Landshut family. Unlike the
very elaborately embossed and gilded parade helmets, they formed part of the very complete suits that exist in fragmentary form in the more im-
176
BURGONETS OF ENGLISH ORIGIN

portant national and even private collections of Europe and America. They happen to be individual or separate head-pieces that were made to complete
what was already a
suit of
armour, perfect
in all its parts
and adequate
to all
the requirements of the military exercises of the time. They are to be seen in the National Armouries of Spain, of Vienna, of Paris, in the armoury of the Metropolitan Museum of New York, and in a few private The one which we illustrate is in the collection of Mr. Felix collections.
Joubert (Fig. 1258), collection in Spain.
years ago from a private choose this specimen as showing this type of headpiece in as complete a condition as anyone could wish. In the matter of its decoration it resembles a suit at Madrid and the extra pieces of plate armour
it
who
obtained
some
five
We
of the
originally for Philip II of Spain, and are to-day to be found in various collections; so that possibly this casque may be considered to have been produced under the direct influence
same harness which were made
Sigismund Wolf. In the Wallace Collection (No. 520) is a partially close helmet from the same suit of armour {ante, Fig. 1189). Reverting to the casque illustrated in Fig. 1258, we may add that its workmanship is of the very first order. The metal used is substantial and excellent; while the etched, gilded, and slightly embossed effects employed in the ornamentation
of
are quite in the perfect taste of the time. Unlike the helmet in the Wallace Collection, or the parts of the suit in the Royal Spanish Armoury, this casque
has never suffered from overcleaning. When it was first received from Spain it was found to be coated with many layers of thick varnish which had been applied repeatedly for many generations to protect both its enriched and
surfaces from the effect of rust oxidization, and when these were removed by Mr. Joubert the gilding and the original burnished surfaces on
plain
the plain steel surfaces were seen to be preserved in their original state.
A SHORT ACCOUNT OF SOME BURGONETS OF ENGLISH

ORIGIN
We
have referred to the armourer, Jacob Topf, as the possible maker of the helmet H 251 in the Musee d'Artillerie (Fig. 1255); we will now give illustrations (Figs. 1259, 1260, and 1261) of those open casques with their
buffes attached, which, in the opinion of the author, are the
work of the
English armourers, including Jacobe,
who worked
at
Greenwich.
The
three
177
Fig. 1259.
BURGONET AND BUFFE
Fig. 1260.
BURGONET and BUFFE
Belonging to the suit of the Earl of Worcester. English (Greenwich) school, late XVIth
century.
Belonging to the suit of Sir John Smithe. English (Greenwich) school, late XVIth
century.
Tower
of
London
Tower
of
London
Fig. 1261.
BURGONET AND BUFFE

late
Belonging to the
XVIth
Thomas Sackville. English (Greenwich) school, Wallace Collection (Laking Catalogue, No. 435) century.
suit of Sir
178
BURGONETS OF ENGLISH ORIGIN

casques or burgonets are taken from the suits of the Earl of Worcester (Fig. 1259 and ante, page 27, Fig. 1 109), of Sir John Smithe (Fig. 1260 and
and of Sir Thomas Sackville (Fig. 1261 and ante, page 72, Fig. 1151), all of which still exist. The superb burgonet on the Pembroke suit has already been illustrated (Figs, i io6a and 1 1 16). We will only describe one that belonging to the Sir John Smithe suit; for all are of the same construction and differ one from the other in decoration only. The skull-piece has a high comb, hinged neck- and ear-pieces, the surface being now brightened with etched ornaments, russeted and gilt. Fitted to the helmet
ante, page 40, Fig. 1120),
a buffe of three falling plates, secured by spring catches to guard the face, the topmost pierced with a horizontal aperture to serve as the ocularium.
is
The comb has
a roped edge, and on the sides are flat strap ornaments inclosing panels with the figure of Mars in a chariot. Justice and Fortitude these are repeated on either side. The ground between is granulated with
delicate foliage.
On
the skull-piece are
two boldly crossing
straps,
with
minute foliated ornaments. The peak, neck- and On the earear-pieces, are margined with bands of a similar character. which show figures of Justice and Fortitude pieces are two round panels, in wreaths. On the buffe are figures of Victory and Mars and bands of ornaments. The edges are roped and have a row of brass-headed rivets by which the lining was attached. Good helmets of the burgonet type were made in the XVIIth century, some quite excellent from the point of their workmanship and design, but in form and decoration according to the taste of the time, though occasionally features surviving from some earlier school of the craft can be traced. English armourers were perhaps more inclined to follow the peculiarities of changing
leafy ends, covered with
fashion than those of other nations; so that in the XVIIth century their work is often of a marked type. French, Italian, German, and Spanish armourers
were content to
designs which had been employed before, and which they either modified or exaggerated. After the first quarter of the XVIIth century and onwards, until the final decadence of the armourer's art at the
utilize
close of the century, the so-called lobster-tailed open helmets with the triple bar face defence, which were so popular both in England and on the Con-
were gradually developed until they finally became very exaggerated This was the open helmet of all classes in England. Of great weight, for many were often bullet proof, they were somewhat clumsily
tinent,
in
form.
made; but the style of their ornamentation, coarse as it was, still invests them with a certain charm. A good example of such a helmet is in the
179

forms part of a small harness, consisting of a breastplate, gorget, and burgonet made for King Charles II when a boy. It will be noted that the surface is tooled with various trophies of arms, etc., and thickly plated with silver. The old inventories state that it was once " Richly Gilt." give as our final illustration of this class of head-pieces a German early XVI Ith century casque, which is also contained
it
Tower Armoury,^ where
We
BURGONETS OF FRENCH ORIGIN

and trophies. The enrichments are well modelled, and for German work of their time remarkably restrained, the graceful rendering of the figures suggesting the style of the Alessandro Algardi. Bolognese artist, The lower borders of the helmet have also applied copper-gilt work, which serves to conceal the join at the edge of the comb.
florid strapvvork
A FEW EXAMPLES OF SOME BURGONETS OF FRENCH

ORIGIN, 1540-80
It
of
is
German make and
unfortunately impossible for us, as in the case of casques of Italian and fashion, to commence our series of French examples by
giving illustrations of tho.se of early XVIth century date. They probably must e.xist; but we can give no examples for the simple reason that we are unable to recognize any which have a P^rench provenance. know German
We
and Italian styles; but we are unfamiliar with a single peculiarity of shape or manufacture that would enable us to assign a head-piece of the casque order
of this date to France.
Placed with the splendid trophy of offensive arms said to have been taken from King Francôis I of France by the troops of the Emperor Charles V'
1525 are other armaments which, according to the traditions of the Royal Armoury of Spain, have always been regarded as having been the property of the French monarch. Among them is a very beautiful casque (Fig. 1263), a r antique, which, from the very distinctive
at the battle of
Pavia
in
emblems
of the French royal house which it bears, the late Count de Valencia attributed unhesitatingly to the ownership of the French King.^ From the evidence of the style of the casque, which appears to be in the French taste of
about 1540-50,
it is
probable that this helmet was
the closing years of his life he died in 1547 but it must not be confused with the other spoil taken from Francôis after his defeat at Pavia. The casque
made
for the
King towards
forged from one piece, its enrichment, embossed in low relief, representing combats between warriors classically attired. The figures, russeted, are on a
is
gilded ground, and are principally represented in profile. The crest, distinctive of the Dauphin, is in the form of a dolphin, and the scales of its body are
adorned with ô\(\ fleitrs-dc-lys. The umbril and neck-guard have duplicated groovings and lambrequin ornamentation applied; indeed, the whole scheme
'
Valencia's Catalogo de la Real Armeria, 1898.
No. M.
5,
page 359.
IV
181
BB

of ornamentation
to identify
is
conceived in
tliat style of
decorative art which

to
is
known
as the earlier school of Fontainebleau.

it
We are unable
adduce any evidence
work of any known armourer. In making out a chronological list of the more celebrated French burgonet helmets of the XVI th century, we are somewhat at a loss to know where to place an example which we regard as a veritable masterpiece of the
wîth the
armourer's
In the case of a specimen of decorated armour, as in those of many other examples of the applied arts, it often happens that the hand of a great master may be at once recognized, although his name is unknown to us: consequently, save by a consideration of its general style, a definite date canart.
FiG. 1263.
Burgonet
Possibly French work of about 1545.

'
5,
not easily be assigned to the piece. head-piece, which is now in the

(Fig.
1264).
We
are thinking of the so-called Colbert Metropolitan Museum of New York
This magnificent casque, one of the most beautiful of its the great period known to the author, comes from the family of Colbert, minister of Louis XIV; hence the name by which it is known. Along with a close helmet it is illustrated and described by Asselinau in his work on rmures, Meubles et autres objets dii Moyen age et de la Les Amies et les Renaissance. The close helmet was part of a suit of armour, which has since
passed into the collection of Viscount Astor (see Vol. iii, page 345, Fig. 1090); the harness formerly belonged to Henri II, a portrait of whom exists showto have been given to Colbert ing him wearing it. This suit is known
by Louis XIV.
It is
therefore possible that the Colbert casque
was also
in
182

the French King's collection for it is undoubtedly the work of the same artist who made the so-called suit of armour and shield of Henri II now in the
;
Louvre
(see Vol.
iii,
page 347, Fig.
1092).
Indeed
it
might have been part of
Fig. 1264.
BuRGONET
Probably given by Catherine de' Medici to Ferdinand I, Grand Duke of Tuscany. French (Louvre) school, by an unknown armourer, about 1570
Ex Dino
the
Collection.
New York
the crest of the
same
is
set.
The very characteristic ornamentation found on
casque
seen again on the top taceplate and upon the gayde-de-rein of the Louvre suit, and on no other piece of armour with which we are acquainted.
183

This design, chased in low relief on the crest of the casque, takes the form of Greek scrolls or waves, with ornaments formed of three pods of the broad bean growing from a stem with small leaves. On each side of the skull-piece of the casque is depicted a combat of the Centaurs and the Lapithae. A lion's mask surrounded by boughs and an interwoven strapwork pattern decorates the umbril of the casque, the neck-piece duplicating in its enrichment the On the hinged ear-pieces, which still retain their interwoven boughs. terminating plates, is the head of a Medusa. A small cabelling runs round the edge of the casque. Two screw rings fixed to the ear-pieces serve for the attachment of a buffe, of which we shall have occasion to speak later. Except the Greek scrolls and the interwoven strapwork pattern, which are blued steel, the whole helmet is gilded in that rather pale tone noticeable only in French armour of the XVIth century. The beauty of its simple shape, the composition and richness of its ornamentation, the admirable drawing and wonderful clearness of its chasing, its reposeful tone and perfect state of of French preservation, render this casque one of the most remarkable pieces has most carefully examined this head-piece, armour extant. The author and has no hesitation in assigning to it a French provenance. The style of the great Italian armourers and chasers of the XVIth century is known.
The works
of the Negroli, of Picinino, of Giorgio Ghisi, of
Pompeo
della
Casa and others, all have their own distinguishing peculiarities. They are marked by bold chasing, by outlines in strong relief, or by very artistic but not detailed drawing; while in the application of gold enrichment the gold is strong in colour, and often in the case of damascening almost overabundant. In the casque under discussion the relief is very little marked;
but the modelling
of perspective. the art shown in the decoration of this casque is like the delicate art of the medal designer, who has to model with a minimum amount of relief; whereas the art of the Italian armour embosser resembles that of the the arrangesculptor, who can use whatever relief he chooses. Besides this, ment of the figures, of the masks, trophies, interlaced patterns or straps, and other ornaments of the pieces, shows a remarkable resemblance to the
admirable, the artist producing his effect by a skilful use If we were asked to make a comparison we should say that
is
decoration seen on certain French furniture of the second half of the
XVIth
century, on the Limoges painted enamels, and, in short, on all known French In the work of the Italian chasers the details applied art of this period.
of draperies, the mu.scles of bodies, the rendering of trophies, in fact, the enrichments generally, are never depicted with that extreme, almost
184

academic, care which is so noticeable in the ornamentation of this Colbert head-piece, a feature very apparent indeed in the entire family of armour to
which
burgonet belongs. In our endeavour to establish the French provenance of this helmet and of its companion pieces, we made by the aid of photographs and personal
such defensive arms as resemble this casque from the double point of view of art and technique; with the result that, though their artist-armourer still remains unknown, we can now confidently ascribe to the same armourer or to the same workshop some twenty examples which till now no one has been able to assign to any known armourer. This
observation a careful study of
all
this
shared by the Baron de Cosson,^ who holds that all these pieces came from an armoury established at the Louvre under Francjois l^' or
conviction
is
Henri H, and would appear to be confirmed by the fact that the suit of armour of Henri H at the Louvre was left unfinished (see Vol. iii, Fig. 1092). In the Royal Armoury of Turin there is a shield undoubtedly from the same hand: the shape is the same, so is the general arrangement of the subjects, which include a battle, captives, antique war trophies, masks, and a framework of interlaced strapwork. Further, the lower mask is surmounted
by the crescent of Diana of Poitiers

to Charles
{posf, Fig. 1323).
The
shield attributed
of Vienna, although differing in form, shows the same arrangement of subjects as that in Turin, except that most of the figures are nude the same captives, the same war trophies, the same
V in
the Imperial
Armoury
Captives bent and cowering, turning their backs, are found on each of these three bucklers; all the works, indeed, which we would attribute to this same master show a marked predilection on his part
{post, Fig. 1324). to
masks
the modelling of the backs of the torsos of the figures. In Windsor Castle armoury is the famous shield made by the same unknown master
show
According to tradition, interesting since it indicates that the shield came from the royal house of France, it was a gift from Francois I to Henry VIII; but it would appear rather to date from the reign of Eliza{post, Fig. 1317).
subject is the history of Pompey; but the style is the as that of the other pieces of this series, and the back views of the
beth.
The
same same
same way are again found. In the collection of Baroness Rothschild there is a shield which presents a great resemblance to that shown at Windsor. It is a round shield on the edge of which is represented the crowned monogram of Henri II, and the crescent, quiver, and arrows
figures
in the
'
armed
De
Cosson, Le Cabhtet d' Amies de
Due de
Dino, 1901.
B. 29,
pages 32
ct seqq.
185

adopted as her insignia by Diana of Poitiers. Another round shield {post, Fig. 1318), resembling the one at Windsor, is to be found in the Wallace Collection (Laking Catalogue, No. 398); in the same collection is another round shield {post, Fig. 13 19) by the same hand though differently decorated, and there is yet another in a private English collection {post, Fig. 1320). Again, the collection made by Prince Charles of Prussia includes a rondache supposed to have belonged to Henri II, which shows the same workmanship as is found on the suit of armour in the Louvre (Vol. iii, Figs. 1092
and
1095).
Finally, the
Royal Collection
circular shield,
at
suit of
armour, with
its
Stockholm contains a complete saddle and cantle plates (Vol. iii.
Figs. 1093 and 1094), which, although apparently of less fine workmanship, shows striking points of resemblance to that of Henri II at the Louvre.
supposed to have belonged to Charles IX of Sweden. Except for the crowned lion of Norway on the shoulder-pieces, the entire decoration of the suit recalls that of the suit of armour at the Louvre, the design on the leg-pieces being almost identical. The rondache is in the same style as the others of which we have just spoken, and on the cantle of the saddle are found the same highly muscular captives who are represented on the shields at Turin and at Vienna. To this list must be added the wonderful shield in the Louvre, in pure gold, with its accompanying morion {post, page 209, Fig. 1285), both chased, sculptured, engraved, and enamelled, which belonged to Charles IX, and bears the initial of his name. To complete the series of fourteen existing pieces by this armourer known to the author, we must mention the saddle steels and chanfron in the Lyons Museum that appear to have belonged to the Louvre Henri II suit (see Vol. iii, Fig. 1096), and the buffe to which we are about to refer in Mr. William Newall's Collection It is noticeable that of the fourteen pieces above mentioned, (Fig. 1265). nine are connected, either on account of their emblems or by tradition, with the royal house of France. We are unable to say whether or not the artistarmourer who produced all these pieces was a Frenchman, although his style makes us think he was; but we may fairly claim for France the honour of having produced the whole series of incomparable pieces which have till now been attributed to Italy. It is probable that all these pieces, designed by the same artist, and showing characteristic resemblances in the style of workmanship, if not actually the personal work of this master, were made under his superintendence, and were ordered by the King of France to be made
It is
either for his personal use or for royal gifts.
It will
not be out of place to
186

add here as an epilogue to our somewhat lengthy description of the Colbert casque, an account of an interesting discovery made by the author. When Mr. Frederick Peter Seguier's Collection was sold at Christie's (February
1903) by order of his executors, amongst other items there appeared a buffe or face-guard (Lot 121), superlative in excellence of design and workmanship (Fig. 1265). Its surface was patinated to the colour of a fine Cin-
quecento bronze, an effect produced by the mastic varnish with which it had been covered many generations ago. That it was an example of metal work of the highest artistic merit apart from its technical interest as a piece of harness was apparent even to those who had no particular appreciation of armour and of arms. Notwithstanding this, it sold for a comparatively small sum of ;^3i5 at the auction and was bought by the author for his
friend,
Mr. William Newall, passing into the
latter's fine
collection of
works of
art.
Now, we recognised
the
bufife
but heterogeneous as a most remark-
able piece of armour; but the method of its enrichment recalled no similar feature in any example of the armourer's art with which we were then ac-
quainted. Three years later at the time when the Due de Dino's Collection was sold en bloc to the Metropolitan Museum of New York that collection,
London, was under our charge; and on examining for the first time the Colbert casque, its enrichment reminded us of a familiar style. The decoration of the casque seemed to be in tune, if the phrase may be allowed, with that which we remembered on Mr. Newall's piece of armour. A letter to Mr. Newall brought the owner and buffe to London. It took little time to fit the buffe to the casque: the head-piece and the face-guard immein
which was then
diately locked together, as in almost affectionate embrace, after their three hundred and forty years of separation. The face-guard bought at Christie's
proved to be the actual buffe belonging to, and made for, the Colbert casque; one difference only was apparent, that of colour. The helmet was splendid in its wonderfully fresh-looking gilding; while the buffe, as we have said, was patinated a dark brown. After careful consultation it was decided to remove a portion of the brown surface of the buffe. This was done, and beneath its dark patina, shining in an almost pristine state of preservation, was the original gilding. The rest of the buffe was most carefully cleaned, with the
practically the same as that of the casque to which it belongs. Shortly after this romantic meeting the Colbert casque went with the remainder of the Due de Dino's Collection to find a perresult that its surface is
now
manent home
turned to
its
in the
home
Metropolitan Museum of New York, and the buffe rein Mr. Newall's Collection at Rickmansworth: so now
187

the Atlantic separates these two pieces. It is to be hoped, however, that in the near future the Trustees of the Metropolitan Museum of New York and
Mr. Newall may come to some satisfactory arrangement by which this long separation of casque and buffe may be finally terminated. As far as it has
Fig. 1265.
Buffe
Collection:
Belonging to the burgonet (Fig. 1264).

Mr. William Newall
been possible to trace the history of the buflfe previous to its coming into the collection of Mr. Frederick Peter Seguier, it seems to have been in the collection of a Mr. Smart, from whom the tradition comes that it was bought
at
Venice by the great jeweller Hamlet early in the XlXth century. A final word must be said about the Colbert casque with its buffe, and that is that we have fairly convincing proof that about the year 1587 they 188

belong-ed to Ferdinand I, Grand Duke of Tuscany. They are exactly represented in a portrait of the Grand Duke painted by the artist Scipione Pulzone, called Gaetano, which now hangs in the long gallery which leads from the Uffizi to the Pitti Palace. Ferdinand I, who was the fourth son of the
Grand Duke Cosimo, became Grand Duke in 1587, and died in 1609. Judged by his age in the portrait, it must have been painted not long after his accession. Our readers will very naturally wonder why a helmet which we accept with full confidence as being of Parisian make should figure in this portrait of the Grand Duke, more particularly as this portrait hangs
first
in
the
Uflizi
Palace,
circumstance which renders
it
almost an
official
portrait.
As
the
Duke
a matter of fact this casque appears in two other portraits of which are to be seen at Florence. In neither of these is he wearing
in
armour; but
both his hand rests upon this casque, as though to show he set great store by it. An explanation may be that through the marriage of the King of France with Catherine de" Medici, the relations between the Courts of Paris and of Florence became very intimate, and that the helmet
was sent from Paris

Henri
II
to
Ferdinand
by Catherine
de' Medici, the
widow
of
on Ferdinand's marriage with her favourite granddaughter, Christine of Lorraine. There is one puzzling question, and that is, how the casque got back to France, as it must certainly have been there when Louis XIV presented it to his Minister, Colbert? Did it go back with Maria de' Medici? That for the present remains a question we cannot answer. A fourth portrait of Ferdinand I was sold at Christie's when the collection of
of France,
the late
Charles Butler was dispersed. In this picture the casque is mo.st fifth picture, this time once more at Florence, shows a faithfully rendered. of Ferdinand's representation of this same casque and buffe. It is a portrait
iVlr.
son,
Cosimo
II.
The bevor
only the bevor and were added to the canvas on the dexter side, and the painter employed to make this addition, not having seen the helmet, invented the side portion of it as he supposed it might have been, and consequently made mistakes in
join in the canvas is quite apparent. That in our review of the very important casques which we consider to be of French workmanship we have omitted to mention until the end
In the original canvas in every detail. the front of the helmet are seen. Later, about four inches
is
shown
representing
it.
The
of this chapter that very famous casque in the Musde d'Artillerie, 254 and (Fig. 1266), which is part of a panoply consisting of helmet, shield, sword, is not because we are not fully cognizant of its exuberant beauty,
but because
IV
it
belongs to so very
late a
XVIth
century date.
We
admit the
189
cc

late style of its art,
but
we
are lost in admiration of the
are thinking not so much wealth of ornament lavished on this helmet. of the labour involved in adding such a mass of ornament, as of the dexterity shown by the armourer in enriching the surface in such a fashion as not
really to interfere with
its
We
workmanship and the
general outline;
for in
the decoration of this
Fig. 1266.
BuRGONET
1
Probably French (Paris) school, about
570-80
254,
Musee
d'Artillerie, Paris
particular casque the proper feeling for what becomes a head-piece modelled on classic principles cannot be said to have been altogether lost sight of. This casque, like the shield en suite with it, is embossed in low relief with
figures of satyrs, female figures, cornucopiae, scrolls, etc., are russeted and inlaid, both with gold and silver, on a
and the
reliefs
ground surface
190

plated with matted gold. Upon the comb of the skull-piece is a design distinctly Greek in character, rendered almost in chasing, so low is the relief. The comb in front terminates in a winged female figure; while
a winged dragon resting on the comb of the helmet. The addition of this monster gives a sense of top-heaviness to the look of the
surmounting
it is
casque; but the author found that when worn no such feeling is experienced. The casque, like the shield of the same panoply, retains its original lining of embroidered blue velvet, almost in its original state of splendour. In
Fig. 1267.
Parade burgonet
Collection.
Made
for
Louis
XIV
of France.
Ex Dino
New York
the official catalogue of the Musee d'Artillerie the workmanship and style of this helmet are described as Italian; but we regard the casque as another
example of the work of some French armourer, dating from the third quarter or even from the last quarter of the XVIth century. Introduced as the central theme of the ornamentation of the skull-piece can be seen the French royal
emblem
of the crab; while the treatment of the female figure, etc., is in the author's opinion distinctly French. This casque, and the shield and sword eu suite with it, were during the first half of the XlXth century in the Biblio-
theque Nationale of Paris, but were transferred to the Mu.see d'Artillerie

1-9
1

about 1878.
session.
How
is
these treasures
the Bibliotheque Nationale first became possessed of not recorded; most likely they were a French royal pos-
workshops of the Louvre by French armourers working for the crown of France. But these armourers, probably of the same school, must have belonged to a later period than that represented by the makers of the Colbert casque, for in the methods of their workmanship there is to be seen a resemblance to the earlier series of French armour. We give, before closing our short list of open casques of French origin, an illustration of that very remarkable head-piece which, together with the shield belonging to it, was made for King Louis XIV (Fig. 1267). As in the
Originally they
in the
may have
been constructed
of silver with applied enrichment in ormolu, which is in the flamboyantly affected classical taste of the time. It appears that the casque and shield, which are reproduced in certain
case of the shield the foundation of the helmet
is
" Gobelin tapestries of the time, were made at the Gobelins" for Louis XIV and were probably carried in front of him on some State occasion. There at the age of fourteen or fifteen, exists a small portrait of Louis painted by Hyacinthe Rigaud, which represents the King on foot in demi-
XV
Beside him on a seat is shown this helmet and the royal sceptre. In the picture a laurel wreath is added to the casque. It would appear that this was a sketch by Rigaud for some larger picture. The sketch is in the
armour.
collection of a
well-known French amateur.
192
CHAPTER XXXIII
jITH those helmets known
propose Cabassets they are practically the same type of head-piece they each protect the head the same way, and only
in
in the
as
Morions we
to class
differ
shape of the skull-piece and in the droop of the brim. To trace their evolution we have to refer to the brief account we have previously given of the XVth century cliapel-de-fer in Chapter XI of our second volume: the morion and cabasset are the XVIth century descendants of the iron hat. The late Mr. J. R. Planchd stated that the morion was a head-piece introduced to the rest of Europe by the Spaniards who had copied it from the Moors about 1550. Other writers agree with this, stating that the morion was, like the Morris pike, derived from the wars in Spain, though from which of the nationalities engaged they are not prepared to say. Mr. Planche does not state from what type of Moorish helmet the Spaniards derived the morion; but the author agrees as to its provenance, and it is undeniably true that it is to Spain we have to turn for the first mention of it or for an actual early XVIth century example of a head-piece that in any way resembles what is understood to-day by the morion helmet.
inventory of the property of Henry VIII taken in 1547,^ referring to the armour at Greenwich, "In thechardge off Erasimus Kirkener " Itm ... a Murrion and a Baver" armerer," there is a confusing entry: to the same," confusing because a head-piece of the true morion form could not be worn with a bevor. This entry shows how the names of headIn
the
must pieces varied: possibly in this instance the use of the word "murrion have reference to some other type of open helmet, probably to a helmet of the Indeed, we have contemporary pictorial evidence of this burgonet class.
confused nomenclature. In the pictured inventory of the principal arms of Charles made by order of Philip II, a volume now preserved in the archives
"
'
Printed with a commentary by Viscount Dillon
in Archaeologia, vol.
li.

Simancas, is listed a certain gift of arms that Charles V received from the Duke of Mantua, among them Dos inorriones are mentioned; but
of
these, according to the
drawing
in the inventory,
are not the type of helmet that is usually classed as morion, but are open casques or burgonets with hinged ear-pieces {ante, pages 132, 133, Figs. 12 18
Fig. 1268.
Morion
Upon
the
and
2 19).
Spanish, about 1500-10.

latten
skull
is
band around the base of the

engraved
in
Roman
head-piece of the Spanish man at arms in the closing years of the XVth century and in
The
char-
acters the inscription: PR.liCINGlTi;-
the
commencement
of the
VOS
ARMATVRAM
FIDEI
1268),
shows a combless
century (Fig. skull-piece with an apex
XVIth
a.
25,
like that of the cabasset
and
slightly sloping
These same features, save that a slight comb is apparent, may be noted on that series of morions of Italian origin that date from about 1530 to 1550, some of which bear the arms of the town of Lucca, while others bear those of Bologna, a circumstance which suggests that they were possibly the head-piece of the town guard of those cities. The example that figured in the Meyrick Collection, and is described in the
brim.
"Engraved
salade."
Illu.strations
We
Plate 74), is spoken of as an "Archer's illustrate one of these series of helmets from the collection
(vol.
ii,
"
Harman Gates (Fig. 1269). But although the word salade was late in the XVlth century applied to almost any kind of helmet, these helmets under discussion have much more analogy to the morion than to the salade.
of Mr.
In the same 1547 inventory of the property of King we have just alluded, dealing with West-
Henry VIII
to
which
minster and Greenwich,

in the
"
Armories
in the
Chardgeof Sir Thomas Darcye Knight; and

custodye of
Hans Hunter, Armerer,"
and "ofifErasimusKirkener,Armerer," there are constant references to the morion headpiece, sometimes spelt morion, once spelt mornis, but more ordinarily murrion. " Itm in Morion heddes covered w'
vellet
passemyn of golde. Itm ij Mornis covered with crimsen Satten one embrodered w' purled golde and the other embrodered w' broided golde.
"
&
Fig. 1269.
Italian,
Morion
Gates, F.S.A-
between 1530 and 1550
Collection: Mr. F.
Harman
194

" " "
and a Murion Itm Itm xvj blacke Murrions. Itm ix white Murrions."
. . .
of Stele enneled blewe.
The
is
head-piece
we know to-day
flat,
as a cabasset
failing to
is
brim being straight and
and
show
cap-like in form, the that arch-like profile which
more
generally seen in the morion; indeed it reproduces in the medium of metal what in textile material was the ordinary headwear of the third quarter of the XVIth century. The two late XVIth century hats of morion or cabasset
form which we illustrate are chosen from examples in the London Museum " (FMgs. 1 270 and 1271). The Murrion heddes, covered w* vellet, & passemayne of Golde," in the 1547 inventory were probably of this type, though doubtless
made upon
a foundation of iron.
^^^^^FV
O S m 6/) u u
-^
6
-
o ^
H W
Uh US
u
M
(0
O
OJ
'c
>
u o
rt
(U
iS
4-
^^
O
-a
>
rt
196

protruding pear-shaped heads for the attachment of the lining strap. The same rivets are repeated round the edge of the brim. The whole surface is
\'
Fig. 1273.
Shield
To which
in
the Cabasset-moribn (Fig. 1272) belongs. Made probably Venice as a gift to Francesco Bernardo of Bergamo in 1553
Museo
Civico,
Bologna
very slightly embossed, chased on the exterior, damascened, and plated with gold, upon a russeted ground. On one side of the skull-piece are upright
IV
197
I)

of quatrefoil-shaped panels containing figures " two of the three Theological " spes and " fides." On the front of Faith and Hope inscribed Virtues
an oval shield of arms, surmounted by the Lion of St. Mark, " maximo xox magx(a)." The whole of the groundwith the inscription work is covered with trophies of Roman armour, swags of flowers, and
the helmet
is
.
drapery. In connection with this helmet a most interesting discovery was made by Sir Claude Phillips some few years ago. On the occasion of a visit to the
Museo Civico of Bologna he identified a shield exhibited there by the Royal Academy of Fine Arts as forming part of the same gala panoply of armour to which the Wallace helmet belongs. The shield not merely resembles the
Wallace helmet, but there is also absolute identity of style in the construction and details of the two pieces of armour (Fig. 1273). The decoration upon the shield, which is oval in form, comprises figures of the four Cardinal Virtues central Justice, Temperance, Fortitude, and Prudence; while round the " boss runs the legend, popvlvs vniversus kergomex.si.s agri," an inscription which should be read in connection with that found upon the Wâllace
being appealed to, the librarian of the commune of Bergamo was good enough to consult the archives of that city, and to supply the information that the arms in the centre of the shield are those of the
helmet.
On
Bernardi of Venice, a family to which that Francesco belonged, who was a captain of the forces of Bergamo from 7 July 1552, until 30 August 1553,
time during which Constantine Priuli was Syndic. A proclamation was made by this Captain Francesco on the 19 August 1553, "To regulate the
Taxes of the
proclamation that had also reference to the military supplies of Iêrgamo (Ducal Registers MS., 99, 15, vol. i, fols. 257a to From this rather slender chain of evidence it may perhaps be fairly 206b). inferred that the cabasset-like helmet just described and the shield of
territory," a
the latter part of the year 1553 to Captain Francesco Bernardo by the Commune of Bergamo. Up to 1884 the shield at Bologna was exhibited in the Picture Gallery,
gift of recognition
in
Bologna together formed a
made
but after that date
was placed in the Museo Civico. It would be interesting to find out when and how the helmet was separated from the shield to which it belongs, but unfortunately, in spite of the most careful research, the
it
history of the helmet cannot be traced farther back than by Sir Richard Wallace for the sum of ;!^3,500.
its
purchase in Paris
The
which
is
next head-piece to which we shall refer that beautiful morion comes the finest helmet of its kind with which we are acquainted
198
199

from Milan, and was bequeathed to the British Musenm by the late Baron Ferdinand de Rothschild (Fig. 1274). Apart from its being a very fine example of the work of Lucio Picinino at his very best period, it is the earliest helmet of the true morion order known to the author; in placthe closing years of the first half of the XVIth century we are in no danger of assigning it too early a date. It is splendidly solid in make, with a brim of sufficient size to balance its well-proportioned comb. In the enrichment of its surface can be seen that
ing the
period
of
its
production in

piece of the morion are particularly interesting^ as havinji^ been similarlyHere it will be seen that the various foliated scrollwork is first treated.
incised with a graver, the leaves, etc., being afterwards plated with gold, a method that lends a greater sense of richness to the general effect than if
gold aszimina alone had been used. The greater portion of the groundwork of the comb is thickly plated with gold. This gorgeous head-piece may well
have had a great history; but, unfortunately,
its
past
is
unrecorded.

of fine strapwork with masks above and below, and at tlie sides seated figures of captives. On the comb, deeply engraved, is a row of long oval cartouches, each framing a military trophy; while scrolls and trophies of armour are represented on the brim. The whole surface is now, through
bordering
is
the patina of age, a

gilding.
fine,
even black colour; there
are,
however, no traces of
visible a
As
the
exaggerate
XVIth century draws the height of the comb
to a close there
is
tendency to
There is grotesqueness. London which, after enumerating certain "combe murryons," runs to the effect: "These combe murryons are said by the armourers to bee very good
of the skull-piece almost to the point of a note in the 1611 inventory of the Tower of
and would bee translated they are oute of fashion and very
stuffes
into Spanish murryons for that otherwise unfitt for service." No. 411 in the Wallace
Like the morion just described, it was formerly in the Meyrick Collection, and is pictured in Skelton's "Engraved Illustrations" of that collection. There it is stated to be of Italian manufacture; but from the bad and decadent style of
Collection has a
of remarkable height (Fig. 1276).
its
comb
surface enrichment, of
prefer to place
it
its
embossing, and of
we
among
those
German
asziniina damascening, armaments in which the borrowed

its
classical
enrichment of the Renaissance had

lost its original significance.
is
become so hackneyed
its
as to
have practically
Apart, however, from
mere-
tricious decoration, there
and that
is
a clever piece of workmanship in this morion, the admirable way in which the comb is drawn out to the
height of 4J inches from the actual skull-piece. To forge such a helmet out of one single piece of steel was the work of a highly skilled armourer.
This morion must have been copied from an Italian model; for the Italians were particularly celebrated for the .manufacture of the high comb. Brantome " leitr faisoient la crite par trop /laiifc." The engraved says that the French morions gilt with ormolu which Strozzi got from Italy for his soldiers cost 14 crowns each. Finding this price too high he caused his morions to be at Milan, engraved but without gilding, and then gave them to a bought F""rench armourer to be gilded; they thus only cost him 8 or 9 crowns each. The same author tells that " a line revue dc Monsieur" (afterwards Henri III) " " 10,000 morions gyavez et dorez were worn. It would appear from contemporary portraits that even on fine pageant morions the medium of deep etching was often a more popular and direct method of enriching the field of such helmets, inasmuch as it did not We give interfere with the actual contour of the skull-piece and comb. 202
.^

an excellent example of this type of ornamentation (Fig. 1277). Here a solid and finely made morion has a comb of great height which, like the actual
skull of the helmet, in the centre a figure
is
closely covered with a strapwork design inclosing and groups of various arms arranged in that curious
style of decoration which is polished, but traces of its

interstices.
always associated with Pisa. This helmet is now original gilding are to be discovered in the morion which utilizes the same scheme of strap ornament.
Fig. 1279.
Morion
late
North
Italian, about 1570-80. Collection: the Mr. Rutherford Stuyvesant, New York
with the addition of classical heads, figures of fame, and the flying horse Pegasus, but which is more beautiful than the one we have just mentioned by reason of its fine gilding and rich brown russeting, is No. 481 in the
Wallace Collection (Fig. 1278). Both these head-pieces are North Italian, belonging to the last quarter of the XVIth century, the former being probably a production of Pisa, the latter from some Milanese workshop. Of the same nationality and of almost the same date is that interesting morion in the collection of the late Mr. Rutherford Stuyvesant of New York (Fig. 1279). Here the etching and gilding employed in the ornamentation are a little
204

at variance
with North Italian
style,
but are certainly of that nationality. It would be safe to assign this morion, which is likewise enriched with broad
incrusted bands of silver, to the closing years of the XVI th century.
Italian too in origin, but a little more robust in its general lines, is
the morion in the
Musee
d'Artillerie,
197 (Fig. 1280). Appropriately etched with bands of various orna-
ments,
it
reveals,
both
in
its
form
and
Fk;. 1280.
in the style of its etched orna-
Morion
North
Italian,
about 1580-90.
ments, German influence. Compare it with a German morion in the same

197,
Musee
collection,
d'Artillerie, Paris
208 (Fig. 1281), and but
ceived, save that the latter head-piece

date,
to
is
few points of variance will be pera form usually met with at an earlier
and somewhat resembles those head-pieces of Spanish origin that may be

the
assigned
years of the
XVth
closing century.
its
This German morion has
surface thinly etched with a carefully drawn heraldic
composition that introduces

the the
Burgundian emblem of
fire steel;
while the in-
scription round the brim denotes that it was one of
helmets worn by the guard of Charles Schurft

the
of
Echenwor,
Hereditary
of
the
Grand
Huntsman
Imperial Tyrol, and consequently must be assigned

to a date
somewhere about
Fig. 1281.
the year 1600.
Morion
208,
Those numerous moIV
South German, about
r6oo.
Musee
d'.Artillerie,
Paris
205
EE

rions which, like the cabassets {post, Fig. 1292), were the head-pieces of the guard of the Electors of Saxony from about 1585 to 16 10, vary in quality according to the date of production. As may be imagined, those produced at the formation of the electoral guard are far the finest in make;
century are the weakest kind of parade helmets. An example in the Musee d'Artillerie of Paris (Fig. 1282) may be considered as one of the earlier of its type; for it is of substantial proporwhile those constructed in the
tions
XVI Ith
and
its
contour
is
good.
These morions vary a good deal

in the case of this
in the
position of the
arms of Saxony: some, as
example, have
Fig. 1282.
Morion
Fig. 1283.
Morion
Of the guard of the Electors of Saxony. German work, about 1580. H 188, Musê d'Artillerie, Paris
it
Of the guard
of the Electors of Saxony,
showing the lion's mask washers to the rivets. Collection: Author
on the skull-piece, others have it on the comb, and some in both places. Apart from the gilded etching, the original colour of the exposed field of these morions was blue-black; but this particular helmet has a bright
polished surface.
varieties of the copper-gilt washers that the skull-piece are known, that of the ro.sette order,
Two
surround the bottom of and that which takes the

Often, too, the
form of a
lion's
head with a ring
in the
mouth
(Fig. 1283).
plumeholders are elaborated in gilded bronze. The dagger which each guard carried and of which there are a number in the Dresden Mu.seum is very distinctive. The hilt is of blackened iron, 206

with an hexafronal pommel, the grip is bound with silvered wire with an band top and bottom. The blade is elegant channelled; the sheath is of tooled leather with chased and pierced silver mounts; there is also, as a rule a pricker (Fig. 1283A). also illustrate an example of a halberd carried
We
by the guard (Fig. 1283H). To complete our list of morions that can claim a place within the XVIth
Fig.
283A.
Dagger
Fig. 1283B.
Halberd
Saxony
Of
the guard of the Electors of Saxony.
Carried by the guard of the Electors of

^...
.
About
1585. Col-
^"'g'- "'^t- ^"''^"'"'
,,.
lection: Mr. S.J.
Dresden
Whawell
The helmets in question century, we have once more to return to France. are preserved respectively in the Musee d'Artillerie and in the Louvre of
our opinion French, though the Musee d'Artillerie example is not so convincing as the example in the Louvre; but both, we feel sure, have been produced under the same influence. In the surface decoration of the Mu.sê d'Artillerie morion (Fig. 1284) we claim to see a close family likeness to that found on the famous dragon casque (see
Paris.
Both are
in
207

which we suggested was probably a French Parisian work of about 1570-80. So to this provenance and to about this period do we assign the specimen in question. As a head-piece it is soundly conFig.
1266),
.structed;
while the decoration of acanthus-like foliage, introducing figures us to be delicately embossed in low relief and surface chased, appears to
Fig. 1285.
Morion
IX
of
Of
gold and enamel, en suite with the shield made for King Charles France. French (Louvre) school, Galerie d'Apollon, Louvre
209

shield belonging to it, the art of the armourer-sculptor in its most luxuriant form. Both shield and helmet are now to be seen in the Galerie d'Apollon. This helmet, as well as the shield, which is also in the Louvre, were purchased
by the French government
1793 at the sale of the collection of Antoine Fashioned of pure gold, the surface embossed Cesar, Due de Choiseul. and chased, and further enriched with opaque and translucent enamels, and complete even to its ear-pieces, this morion looks like a production of but As in the case of the yesterday, so wonderful is its state of preservation. shield, a battle scene occupies almost the entire sides of the skull-piece;
in
Fig. 1286.
MORION-CABASSET
Italian, Pisan school,
Mr.
W.
about 1580. Collection: J. Pavyer
the
high and embossed in the centre with a grotesque horned mask. On the brim is the characteristic guilloche pattern which to our mind at once proclaims it to be the work of that unknown but recognized French
is
comb
armourer on whose productions we have speculated in vol. iii, pp. 346^/5^^^., and ante, pp. 1 83 et seqq. Like the morion, the cabasset was evolved from the chapel-de-fer. All the helmets which are classed as "peaked" morions, but which we call cabassets, belong, strictly speaking, to the cabasset class, whether they have the flat brim or not, the term morion being properly reserved for what are usually termed combed morions. Perhaps such a cabasset as is to be seen in the collection of Mr. W. J. Pavyer, a North Italian example of unusual beauty 210

of outline, is what might truly be classed as the "peaked" variety (Fig. 1286). One of the first allusions to the cabasset occurs in an Ordinance of Francois I",
whereby men
at
arms
shall
wear the armet, light horse the salade, and
''
les
arqiiebiisiers seiileinent le cabasset poity viser iiiieiix et avoir la tdte plus ddlivrde!' The cabasset did not impede the aim, and was therefore the head-
piece
most appropriate
to the musketeer.
have been very closely
allied to
At the period of Francois I it must the chapel, for it was low crowned and straight

deplored as illustrating the decadence of the armourer's art. It may be regarded as North Italian in origin, and dates from the last quarter of the
XVIth
century.
It is
embossed with
vertical panels of trophies of
arms
upon a groundwork composed of terminal figures, strapwork, and cornucopiae. The strap borders of the panel and some of the details of the trophies of arms still retain slight traces of arabesques in gold azsiinina damascening; but unfortunately the surface is pitted with rust and much rubbed. Though
Fig. 1288.
Cabasset
North
Italian,
about 1590. United Service Institute, Whitehall
the embossing
is
somewhat rough, the gold plating and damascening must

that cabasset bequeathed Institution, Whitehall (Fig. 1288), by the late Mr.
is
have lent to
Very
to the
a general effect of richness. much more elaborate in its decoration

it
United Service John Davidson. Coarse

it is
in
workmanship and perhaps meretricious
in style,
very characteristic of the late Milanese school; but from the collector's point of view it is interesting because of its wonderful state of preservation. North Italian type, less elaborate but constantly met with in public
and private
collections, can be seen in
an example chosen from the Musee 212
d'Artillerie of Paris,
MORIONS AND CABASSETS H 225 (Fig. 1289). We select
it
for illustration as
showing just the ordinary Pisan etching of the Pompeo della Cesa school, the most usual form of decoration for such a It belongs to head-piece. the closing years of the XVIth century, like the next cabasset illustrated
(Fig. 1290), which, however, is in all probability a few years later in date. It may be noted that this helmet, which also has its surface enriched with
bands of Pisan etching, has a skull-piece elongated but less elegant than those found in other cabassets which we have the brim, too, is figured; small, straight, and slightly inclined downwards. In this case the heads
Fig. 1289.
MORION-CABASSET
about 1590.
Fig. 1290.
Cabasset
1
North
Italian,
225,
North
Italian,
about
590-1600
Musê
d'Artillerie, Paris
247,
Musde
d'Artillerie, Paris
of the rivets that held the lining in place project on the exterior as pointed pyramidical spikes, a not uncommon fashion of the early years of the XVI Ith century. Exactly of the same form is that cabasset in the Wallace
Collection, No. 539 (Fig. 1291). Our reason for alluding to this particular headpiece, which is of very late date, possibly about 1600 to 1610, is that gold azzimiua damascening of quite a high order can be seen decorating its
very low relief and gold plating. On either side of the skull-piece is an oval panel representing the siege of a town; above these are smaller upright oval panels with figures of Lucretia and Fortuna; at either end are other oval panels containing amorini, masks, etc. All the panels are united by strapwork. From the quasi-Oriental F F IV 213
surface.
It is
further enriched with
embossing
in
EUROPEAN ARM0UR:AND ARMS

manner in which the gold is applied, it seems likely that this helmet was made in Venice. We will give one more illustration of a cabasset head-piece which was
Fig.
Italian,
291.
Cabasset
probably Venetian, about 1600-10 Wallace Collection (Laking Catalogue, No. 539)

emblazoned with the arms of Saxony, which dates from the first quarter of the XVrith century and is now in the Musde d'Artiilerie, H 234. A great
various states of preservation, but this is the finest specimen we know of (Fig. 1292); here the gilding is in condition and the exposed iron portion of the good skull-piece still retains its original blue-black patina.
many
of these cabassets are extant in
Among
the curiosities
we have met with
in the
way
of head-pieces of
Fig. 1293.
Morion
Of
leather, embossed and tooled. Italian, about 1590 H 183, Musee d'Artiilerie, Paris
183, of the Musde fabricated of cuir bouilli, and is 1293), entirely embossed and tooled with figure subjects, one of which has been construed ourselves, howby the authorities as representing the death of Bayard. this order
we may mention
the
is
combed morion,
d'Artiilerie (Fig.
which
We
of Italian origin of the closing years of the XVIth century and not of French provenance, as the subject depicted on it would seem to suggest it is to be compared with a similar one in the Armeria Reale, Turin, No. 67 in Angelucci Catalogo, etc., page 187, where it is illustrated. Constructed in the same medium of ctiir
ever, are rather inclined to think that this
is
;
helmet
215

bouilli is a well-fashioned little cabasset formerly in the collection of the late Herr Richard Zschille (Fig. 1294) and now in the National Bavarian
Museum
of Munich.
give to it the leather
the style of its decoration we are inclined to an earlier date than to the morion just described. The surface of
From
embossed and tooled to represent four oblong panels with pendant trophies of arms and musical instruments; the groundwork Merely as an illustration of the being worked to a granulated surface.
is
finely
degradation of the armourer's craft we finally figure a German early XVI Ith century helmet if it can be dignified with the name made out of thin gilded copper, rather quaint perhaps by reason of the martial subjects
Fig. 1294.
Cabasset
tooled.
Italian,
Of leather, embossed and
about 1580
National Bavarian
Museum, Munich
in
embossed upon
it,
but of the poorest possible form, and fashioned
two
the centre of the skull-piece (Fig. 1295). halves joined It was formerly in the Meyrick Collection and was illustrated and described in Skelton's work on that collection (vol. i, Plate 73), where it is dated as being of the
latter part of the
down
We
think
XVIth century. that we have now
cabasset; the author
sufficiently described the morion and the has illustrated the choicest examples with which he is
acquainted. Except in cases where these helmets are the work of a famous armourer, or of a skilful armourer whose name is unrecorded, they may be generally classed as belonging almost to "regulation" defence. In fact
many hundreds
of
extant morions and cabassets could be
placed in no
216

interesting^ category than that of the plain head-pieces of the Commonwealth soldiery. As for those blackened morions which are generally embossed
more
on either side with
fleur-de-lis,
they appear to have belonged to the Civic
Guard
in
Munich, or to regiments of pikemen who had their headquarters that town. In this instance the fleur-de-lis seen upon them has no heraldic
of
Fig. 1295.
Morion
Private Collection,
Of gilded
copper, German, about 1610.
England
an emblem of the Virgin, to whom the town guard Some thirty years ago, hundreds of these helmets were purchased en bloc from the arsenal of Munich by a French dealer; while comparatively recently, a very large number of helmets of the morion and cabasset type of four distinct patterns were bought by a well-known English
significance, but represents of Munich was dedicated.
dealer from a
town
in Spain.
217
CHAPTER XXXIV
ITALIAN, GERMAN, jO closely
AND FRENCH PAGEANT SHIELDS

century are the beautiful pageant shields of little have they to do with actual bodily
allied to the products of the other applied sculptural
arts of the
XVIth
we
shall only allude to a few of the more famous extant examples, classing them under their nationalities as veritable monuments of the designer's and embosser's art. They, however, bear
this period, defence, that
and so
work; though, with a few exceptions they were made not for defence, but for purposes of pageantry and of display. These embossed targets, which according to Roquefort, in his Glossaire de la Langne Ro7name, occasionally figure in old French inventories as blacon, were carried by or for great princes and nobles; consequently the artistarmourers lavished upon them their best endeavours.
upon the subject
of this
Such pageant shields, too, it must be remembered, were considered fitting There is the record in an inventory of gifts from sovereign to sovereign. arms taken at Augsburg in 1519 of a roundel garnished with black and white bone, partly gilt, and fringed with black samite, a gift from Henry VIII to
In the inventory of the English royal jewels taken in 1528 figures "a tergat of the Passion, with Our Lady and St. George on foot"; while in another of 1530 is included "a silver-gilt buckler with the arms of
I.
Maximilian
England,
roses, castles,
and pomegranates."
ITALIAN SHIELDS
We
can do no better than commence our brief account of these works of art by illustrating that superb shield (Fig. 1296), doubtless the finest example
Royal Armoury of Madrid, signed by the brothers Negroli of Milan, and dated 1541 (D 64). In this great work of art, which was made by the famous brothers for the Emperor Charles V, can be noted
is
known, which
in the
the finest Italian taste of the mid-Renaissance,
embodying
all
that restraint
218
ITALIAN PAGEANT SHIELDS

and, at the same time, sumptuous effect that mark the Negroli family. In the famous Itiventario Ihtininado it figures
work
of the great
among
the
eight
grouped together on one
plate,
which are described as doze rodelas. As there
Fig. 1296.
Shield
.
'
Made
for Charles
V, 1541.
D
are
64,
JACOBI Royal Armoury, Madrid

it
Signed: PHILIPP
ET
NEGROLI
evident that a leaf containing the other four is missing. In the Relacidn de Valladolid, the translation of the description runs "one damascened buckler, black ground, and in the middle a face
is
no more than eight drawn,
with some black snakes and gilded edges, garnished with black velvet." The work of the brothers Negroli is very distinctive. If one examines
closely the productions of other great armourer-artists,
one finds that their
219

the very minute and accurate workmanship, which is seen at its best under close scrutiny; whereas to see the Negroli's work at its best we must stand back from the object so that a broader view may be
beauty
lies in
had of the ornamentation, when

will at
once strike the eye. worked upon a superimposed plate, are the wings and head of the fabled Medusa, the hair dishevelled and intertwined with serpents. This central motif is surrounded by a formal laurel wreath, which again is encircled
perfect balance and beauty of composition In the centre of this shield in the boldest relief,
its
by three concentric bands.
That nearest
to the laurel
is
narrow with an
even surface, but enriched with fine silver and gold azzimina damascening; the second band, for greater contrast, has a black unpolished surface, showing in places the hammer marks; the outermost band is enriched with
a laurel wreath altogether smaller than that surrounding the Medusa's head, and is, like the first band, decorated with damascened work in which stand out medallion motifs, now much worn, but originally incrusted with gold,
containing the following emblems: the two-headed eagle, the columns of Hercules, and the accessories of the Order of the Golden Fleece. The middle band is divided into sections, leaving spaces between the mouldings, and in each one of these there is a small diamond-shaped panel, also enriched with
adornments in gold, where can be read the following inscription: is terror gvoD viRTVs ANiMO 'e for-tvna paret. The most important inscripet f negroli iacohi tion the shield bears is, however: philipp M D xxxxi. The vclvet lining referred to in the Relacion FACiEHANT
de Valladolid is now lost; but the shield still retains the iron rivets by which it was held. The late Conde de Valencia, in his catalogue of the Royal Armoury of Madrid, is responsible for an admirable description of this shield; but neither its ornamentation nor the date at which it is recorded to have been made enabled him to decide whether or not it formed part of the series of arms which these famous craftsmen, the Negroli, supplied to the Royal Spanish Armoury. As, however, the date, 1541, coincides with that of the entrance of Charles V into Milan on his return from Germany, two possible explanations of its origin may be suggested. It may have been presented to Charles V on this occasion, either by the municipal officers of the city, who wished to congratulate the Emperor on his victories, or by the Marchese del Vasto, who at the time held the chief command in Milan, and who may have given it to the Emperor to mark his appreciation of the honour that Charles had conferred on him by acting as godfather to one of his children. Perhaps we should make our excuses for giving another work of the 220

Negroli as an example of a parade shield; we can only plead the great fame and splendid achievements of these fine armourers. We can also claim that in this case we open up another field of speculation, and that is as to who was the specific maker of certain of these superb achievements whether they were individual productions or the work of what may be termed the school of Negroli. The shield first mentioned was, as we have shown, inscribed in such a way as to show that it was the joint work of the brothers
Fig. 1297.
Shield
. . .
Made
for Charles
of Spain, 1533.
.
MEDIOLANENSIS
FACIEBAT
Signed: JACOBVS PHILIPPVS NEGROLVS MDXXXIII. D 2, Royal Armoury, Madrid
Negroli; but this next shield (Fig. 1297), which is also in the Royal Armoury of Madrid (D 2), is signed: jacobvs philippvs negrolvs mediolanenFACIEBAT MDXXXIII. SIS

Surely the singular number of the verb shows clearly, in spite of what many have supposed, that the shield in question is the work not of two of the brothers but one of them, of one who, following a custom common enough in Milan, used in his signature two of his names. In default, then, of more precise biographical data, the two inscriptions may be said to
IV
221
GG

Giacomo Filippo Negroli, the maker of the shield we are about to describe, was a contemporary of Filippo Negroli, probably his son or brother, and that Filippo Negroli was the famous Filippo who, in 1539, manufactured the magnificent armour in the Royal Armoury of Madrid (A 139), signing the work with his brother, philippvs jacobi et fratr NEGROLI FACIEBANT 1 539-
show
that
Fig. 1298.
Shield
Once
in the collection
of the Archduke Ferdinand of Tyrol, 1552.
The work
of Lucio Picinino.
This second shield, a shield with the lion's head (Fig. 1297), and the bearded helmet referred to ante, Fig. 1231, were given to the Emperor Charles V by Federigo Gonzaga, Duke of Mantua, between the years 1533 and 1536. The shield, which is made in two pieces, is slightly convex,
originally of a black patine, but to-day polished bright. embossed in high relief with the head of a lion, its
The mane
centre piece
flowing.
is
The
second portion has a surface kept quite plain for the better display of the 222

splendid border. This border is composed of six medallions placed at equal distances from each other, and supported by griffins which are linked together by volutes. In the case of all the medallions the ornamentation consists of
the representation of the two-headed eagle, of the columns of Hercules, of the Phis ultra motto, and of the croix ragitld of Burgundy interlaced with
the chain and fire-steel of the Golden Fleece.
In the upper part of the
smooth field, next the border, may be read in letters, made with the armourer's punch and gilded, the inscription and date referred to above. It was not until the middle of the XVIth century had passed that the masterpiece of the famous Milanese armourer, Lucio Picinino, was produced, namely, that splendid shield preserved in the Imperial Armoury of Vienna (Fig. 1298) and noted in the old inventories as "the round shield with the head of Medusa." Along with the casque illustrated ante, Fig. 1237, it was presented by Charles V to the Archduke Ferdinand of Tyrol who, having a great admiration for these two pieces, ordered that they should be completed into a half suit of armour by the addition of both back- and breastplate, gorget and espaliers, in which half harness he is represented in a conIt would appear that the shield was completed by temporary portrait. Picinino in 1552, and it is signed with his initials. The breastplate and other parts made to be worn with it are of later German workmanship, good
in execution but poor in style. The design occupying the shield consists of a central slightly concave medallion, in the centre of which is embossed in
very high relief the head of Medusa, the Negroli shield (see Fig. 1296).
much in the same manner as that on Round this is a band decorated only
with those gold plated tendril ornaments which are so characteristic of Picinino's earlier work. Outside this again are two concentric bands, the outermost being enriched with four circular concave panels placed at equal distances one from the other. In these are the busts of Scipio Africanus and
other panel has band and figure subjects, trophies of arms, and marine monsters, the actual anatomical treatment of the figures being strangely reminiscent of the great Caradosso. The beautiful ground
other classical heroes.
The
colour of 'this shield, the high and even quality of the gold damascening, apart from the excellence of its general design, render it a worthy memorial to the genius of Lucio Picinino.
we
this great historical pageant shield, a signed and dated work, will turn to a very fine shield in the Wallace Collection, No. 632
From
(Fig. 1299), which, although it is unsigned, yet shows the hand of Picinino. little later in style than that which we have just described, it can yet
223

almost hold
with any earlier example of the embosser's art. As in the case of the morion illustrated ante, Fig. 1275, a particular school of inlay can be recognized, and we venture to think that it can
its
own
only be ascribed to Picinino and to be the work of his best period; his
Fig. 1299.
Shield
The work of Lucio
Picinino.
hand, too, can be

figure subjects.
.seen
This
in the characteristic treatment of the draperies and shield was, in 1786, in the collection of Gustavus
It
Brander of Christchurch, Hants.

of a Dr.
Ward, who purchased
it
in
had previously been in the possession a truly Italy for five hundred pounds
224

great
Sir Richard Wallace obtained it with other he bought from the Count de Nieuwerkerke. This shield was armour which illustrated in an engraving by N. C. Goodnight as the frontispiece to one of " the earliest works on ancient weapons, entitled Treatise on Ancient Armour
for those days.
sum
and Weapons," written by Francis Grose and published in 1786. Made at a period in which the Italian artist and armourer stiJl worked in harmony, this shield deserves to rank as one of the finest productions of its kind extant. Executed in the spirited and broad manner of the Negroli, it attains a grandeur of effect in its general design that is lacking in the more highly
wrought shields of a
later date.
Wallace shield is a figure subject on a large scale occupying nearly the whole surface. The embossing is in high relief. The face of the metal is chased, richly plated with gold and silver, and damascened
In the centre of the
metals, all the exposed surface of the iron being rus.seted. The subject chosen for the enrichment of the central panel is a composition of figures representing Scipio receiving the keys of Carthage after the battle
in the
same
of
Zama, 202
b.c.
In the extreme centre of the shield
is
.seated
Publius
Cornelius Scipio (afterwards called Africanu.s).
fashion, holding in his left extended to receive the proffered keys. Behind him are standing the generals of his army, the foremost of whom may, on account of the semioriental nature of his armour, be taken to represent the Numidian Prince, Masinissa, who assisted Scipio in many of his campaigns. Above the heads
armour of Roman
dressed in complete hand a baton, the right hand

is
He
of this group can be seen the chariot horses tended by negroes, and beyond little to the right and just behind the them the tops of the pitched tents. of Fame robed in a richlyfigure of Scipio is an allegorical winged figure
her right hand she holds a trumpet which she is in the act of raising to her lips. At her feet is the figure of a child, genius, holding a palm branch, while from above flies down another holding a crown. With her body slightly bent in submission, a majestic female figure, emblematical of Carthage, offers with her right hand the keys of the city to
.striped
and flowing mantle;
in
Scipio; while with her left she points over her shoulder to the procession of personages passing through the city gate, in many cases laden with for Hasdrubal offerings, the two foremost of whom are possibly intended
and Syphax.
seen on one side of the composition in the middle distance, the outer wall and moat in perspective, at the end of which is a second gate open and with the drawbridge down, from which issues the
The city of Carthage
is
225

remainder of the defeated army of Hannibal, glimpses of which can be seen in the wooded distance on the left-hand side of the composition. In the far distance flows a river, on the farther bank of which is a group of hills, on the top left-hand corner being a distant view of a citadel; at this point the
spanned by a bridge. At the base of the panel flows a river crossed in the centre by a small stone bridge. The border of the subject is composed of a continuous garland of fruit and flowers bound by a ribbon. This is
river
is
intercepted at intervals by oval cartouches containing sprays of formal flowers and vases. At the sides, partly concealed by the fruit, are figures of amorini. In the bottom cartouche is a Medusa head; while at the top in an
elaborate strapwork frame are introduced the interlaced crescent moons of Diane de Poitiers. To connect these emblems of French royalty with the
provenance of this pageant shield would be a But with our present knowledge we can only was once the property of Henri II of France, acquired for him by purchase, or more probably sent as a gift from one of the ducal families in Milan. The whole of the border ornament is on a gold-plated ground, minutely stamped with an annular design. This work, which is 2i;' inches wide by 26.' inches deep, maybe accepted as dating from the opening years of the second half of the XVIth century. So far we have given illustrations of two Picinino shields, the work of the master in his finest manner. We will now give an illustration of a third shield of his that markedly illustrates the decadence in the armourer's art that became so universal as the end of the XVIth century approached. This shield, which is in the Royal Armoury of Madrid and forms part of a parade harness made for King Philip III of Spain, is unsigned; but by reason of the great similarity that exists between it and the armour known to have been made by Lucio Picinino for Alexander Farnese, and now preserved at Vienna, we have no hesitation in declaring it to be the work of that armourer. The discovery of the Inventario de la Real Armeria for the years 1594 and 1652 enabled the late Count de Valencia to fix with exactitude the origin and subsequent destiny of the suit of armour with its accompanying shield, the ownership of which had been wrongly attributed, first, to the celebrated Duke of Alba, and afterwards to the no less celebrated Don John of Austria, natural son of Charles V. In the Inventario it is stated that the armour and shield formed part of a splendid present of different weapons, both European and Turkish, made by the Duke of Savoy to his brother-in-law. King Philip HI, on the occasion of the visit to Spain in 226
Italian
undoubted North
labour
of great interest. surmise that this shield

1603 of the three eldest of his ten sons, namely, Philip Emanuel, Victor Amadeus, and Filiberto. The shield in question (Fig. 1300) is circular and convex, its whole surface, like that of the suit to which it belongs, being embarrassed, we use the word advisedly, by the most elaborate embossing,
gold damascening, and plating.
of transitional
On
it,
too,
we
XVIth-XVIIth century
motifs
classically attired
find all the usual mixture
figures in
Fig. 1300.
Shield
About
1570.
The work
of Lucio Picinino.
293, Royal
Armoury, Madrid
medallions, swags of fruit, strapwork, the debased Italian Renaissance.
etc.
which
are so characteristic of
unknown North Italian armourer 301) which is also in the Royal Armoury of Madrid (D 63), a shield (Fîg. certainly anterior to the middle of the XVIth century. We choose it
next show a rondache by an
1
We
not only on account of the splendid way in which the famous historical motif that enriches the surface is disposed, but because of the very many times it has been reproduced within recent years. Owing to the low
relief of its
embossing
it
has readily lent
itself to
reproduction by means
227

of casting in malleable iron. This was done in the past by special ofiicial permission. It has also been in actual embossing correctly copied by
hand by such
Gaggini of Milan, and by less well-known metal workers. Often the famous inscription which appears on the original shield, PLUS ultra, has been suppressed, and other minor details have been modified. The original shield is splendid from the effect of the figure composition, on which the richness of the whole relies; for the very simple method of its production is remarkable. Forged from one piece of iron, somewhat convex, it was originally of russet colour. Cleaning has now given it a
artificers as
Fig.
301.
Shield
Made
for
Charles
of Spain, ahout 1540.
6^,
bright steel shade, and its motifs of figure subjects, fully gilt, stand out not so much on account of their colour, as by reason of the masterly treatment of the
embossing and chasing. Controversy has often arisen as to the proper interpretation and emblematical meaning of the figure subjects represented; but it is now generally recognized that the late Count de Valencia has
given the only convincing reading of them. In the Inventario Iluniinado this shield does not figure amongst the eight grouped together in one plate which are described as Doze rodelas; but it must have been among the twelve referred to, seeing that the Relacidn de Valladolid, in speaking of the twelve shields, describes one as "a buckler of steel, engraved
228

and
some letters on which read plus ultra." The name of the armourer-artist who produced this shield is unknown. Many experts have
gilded,
agreed that the style and composition are very similar to what one finds in the designs of Giulio dei Giannuzzi (Romano), in support of which theory it must be remembered that this celebrated pupil of the great Raphael worked
Federigo Gonzaga when the Duke, out of gratitude to the limperor for investing him with the Principality of Monferrato, presented Charles with many and rich arms worked by Mondrone, Serafino, and other armourers of equal renown. We may add that the rivet holes round the edge of the shield retain small portions of material, which show that it was lined in accordance with the account given in the Relacidn de yalladolid. Accepting the deduction that this shield belonged to the great Emperor Charles V, we must refer to history, failing other data, in order to discover with reasonable certainty what it was that gave rise to the allegory represented. The subject chosen and carried out by the artist for the adornment of the buckler appears to be connected with two of the most celebrated events of the reign of Charles V, the voyages of Cortds and Pizarro to the Indies, whereby vast dominions beyond the seas were acquired by
in
Mantua
for
the
of Spain; and the victorious expedition to Tunis commanded by the monarch in person. Within a wide border enriched with fruits and
Crown
amorini, and surmounted by the emblems of the Golden Fleece, the figure of Charles occupies the centre of the composition, clad in classical armour, and standing on a galley propelled by two tiers of rowers. The Emperor supports the standard with the two-headed eagle, preceded by the
Fame, who is on the prow, carrying the shield with the famous inscription plus ultra, and followed by Victory, who floats in the air, ready to place a crown of laurels on the Emperor's brow, while she indicates the devastation that must follow in the track of the ship as it sails ever onwards (plus ultra) to unknown seas. Hercules obeys the thought and seconds the efforts of the Emperor, pulling up the columns which he planted on the mountains of Calpe and /Vbyla, so as to create new boundaries for the ocean; while Neptune, supported on his trident, looks on astonished at the immense addition to his dominions. A woman is represented, kneeling and tied by the braids of her hair to the trunk of a palm tree, upon which a turban is
figure of
^
page 13, quoting Paolo Giovio, connects the famous Plus Ultra with the Milanese physician, Luigi Marliano, medical attendant on the Emperor, legend who rewarded him with the Bishopric of Tuy, adding: " I will give you more, for the Plus Ultra which you gave me merits much."
'
Florez, lispana Sagrada, vol. xxiii,
I\-
229
H H

placed, to symbolize Africa brought into subjection by the then recent conquest of Tunis; while to the right of her a man can be seen reclining at the
feet
of Neptune, an allegory probably of the Baetis, which is now to be the river dividing Spain and her new possessions. W^hen we examine any authentic example of the work of Giorgio
the signed pieces are reduced to two we seem to realize, despite the beautiful quality of the true gold damascening, a certain tightness of design and an over-elaboration of detail, which are hardly to be
Ghisi
and
expected at the comparatively early date in the this armourer's principal works were executed.
XVIth century The shield, for
at
which
instance,
which forms part of the Baron Ferdinand Rothschild bequest to the British Museum, and which used to belong to Prince Demidov of San Donato (Fig. 1302), is a very splendid example of the armourer-goldsmith's work from the point of technique; but as pageant armour we cannot compare it
with the productions of the Negroli. To the collector, however, this shield makes a special appeal for it is in its almost original state. It is slightly convex, and in place of a central boss there is a circular panel containing a representation of a Romanesque equestrian encounter, framed
;
which, through the intermediary of two grotesque masks, links up two oblong panels extending to the edge, which contain respectively emblematic female figures of F"ame and of Victory. Disposed
in elaborate strapwork,
on either side of the central panel are oval upright panels framing figures of Strength and Prudence. Other figures, male and female, satyr-like in nature, groups of fruit and delicate festoons of ribbon-like drapery, occupy the remaining surface of the shield evenly enough, but with little compositional repose. It is interesting to note that, although the shield is dated 1554, the most advanced forms of interlaced strapwork are utilized as the
frames to the various figure subjects. So developed, indeed, are they, that if their equivalent in architecture were seen on a building in England they would unhesitatingly be assigned to the early years of the XVI Ith century.
The strapwork
tions of gold.
in the case of this shield is the field for the richest incrustaIt
takes the form of minute figure subjects chosen from the Iliad and from Roman mythology, drapery ornaments, trophies of arms, and
can be seen.
a strong element of the grotesque. It is on the top of a central panel, on the span of a bridge on which two armies are about to conflict, that the signature of the maker and the date (;eorgivs de ciHisiis, mantvanvs 1554
The groundwork of the

and
shield
is
russeted
while other portions
are thickly plated with gold
silver.
230

two Ghisis, Giovanni Iâttista Ghisi, who was born about 1500, and Gior<îo, called Mantovano, who was born twenty-four years later. The latter is the more famous of the two for, in addition to being an armourer, he was a plate engraver, and prints after his works are known to
of
;
We
know
.^^sî^s&^m
Fig. 1302.
Shield
Signed and dated: GEORGivs DE GHISIIS, mantvanVS 1554 Baron Ferdinand Rothschild bequest liritish Mu.seum
both in Mantua and Rome, and died probably about 1575. The only other armament signed by him which is still preserved is a sword hilt in the Budapest Museum, signed georgivs ghisi man f. There is also a shield in the Royal Armoury of Madrid (D 69) which,
exist.
.
.
He worked
although unsigned, appears from the style of the work to

231
be, in all
prob-

ability,
from his hand. It was acquired by Queen Isabella II in 1847. The " is taken from the semi-epical Trionji" subject chosen for its ornamentation
of Petrarch. of Vienna a half suit of armour, too-ether with a rondache shield, that formerly belonged to the Archduke Ferdinand of Tyrol. This rondache (Fig;. 1303) is part of that equipment
There
is
in
the Imperial
Armoury
Fig. 1303.
Shield
Once
in
the collection of the
Archduke Ferdinand of Tyrol. About 1560
for
man and
horse which
is
is
known
in
later inventories
as the
"
Milan
Harness," but which
Archduke, made " harness which has been bought from the Merchant Serebej {Translation). Without necessarily endorsing it we quote HerrWendelin Boeheim's theory that the name Serebej refers to the Milanese embosser and damascener, Giovanni Battista Serabaglio, who is supposed to have supplied the Archduke with this particular armour and shield in 1560 for the sum of 2,400 crowns.
232
described in the inventory of the inheritance of the in the year 1596, as follows: "The Milanese embossed
We
have already discussed this theory of Herr Boeheim (voL iii, page 294). Giovanni Battista Serabaglio belonged to the famous Busti family of Milan, another member of which, Agostino Busti, sculptured the well-known effigy of Gaston de Foix. But to revert to the rondache in question. Although a very beautiful piece of steelwork from a decorative point of view, it must be regarded as over-elaborated and confused, the various strapwork panels containing the figure subjects intertwined one with the other in a somewhat needlessly geometrical fashion. The quality of the azsimina damascening
is,
however, very remarkable.

Naturally
all
parade shields were not of equal richness; some only
Fig. 1304.
Siiiiii.D
Fig. 1305.
Shield
Etched
in
the Pisan
1580.
manne
About
Etched
in
the I'isan manner.
Wallace Collection (Lakint Catalogue, No. 694)
1580. Collection: Mr. S. J. Whawell
About
ornaments on ordinary aqua fortis etching in the so-called Pisan manner. Of these we give two illustrations representing the more usual type of North Italian workmanship of about 1580 (Figs. 1304 and 1305); while others that come under the same provenance but are more elaborately engraved, we select from the work of Geronimo Spacini of Milan and Bologna (Fig. 1306). Sir Samuel Meyrick, whose collection contained the
relied
for
their surface
shield
we
are referring
to,
described
it
on account of the subjects depicted on

date, for the style
as the target of Charles V, doubtless it. It is, however, of considerably later

to the last quarter of the
of
its
workmanship belongs
century. All our personal efforts to find any records of this shield have been unfruitful. The subjects are not rendered by means oi aqua fortis
XVIth
233

etching, but by a graving tool; indeed, they strongly recall the decoration on one of the suits of armour in the Tower supposed to have been worn
by Henry, Prince of Wales, elder son of King James

resemblance
it
I.
From which
may
the same, that is, is now in the Wallace Collection (No. 673), bears the signature of the
be inferred that the period of their workmanship was the first quarter of the XVI Ith century. This shield, which
maker
Fig. 1306.
Shield
About
1
The work
of Geronimo Spacini of Milan.
590-1600.
Wallace Collection
(Laking Catalogue, No.
6jt,)
beneath the central spike, the inscription running: hier spacinvs mhdio " Made at Bologna by HON FACiEHAT. the translation of which is Geronimo Spacini of Milan." It has a convex centre with a flattened border turned under at the edge to a roping, the contour being followed by a row of brass-headed rivets by

secured, with brass rosette washers in the interior, part of the original blue velvet lining and fringe. The whole surface is decorated by compart-
which
is
234

work having been done, as we have with a graving tool, and the subjects being richly gilt on a blued ground. said, In the centre of the shield is screwed a spike of diamond-shaped section which secures two leaf ornaments, and beneath them is engraved the maker's
in concentric circles, the
ments formed
In the smaller band round the central spike are the twelve signs of the Zodiac, each contained within the entwined dolphins' tails, which form the arms of female termini that separate the subjects underneath. These
name.
mythology, and occur in the following order: (i) Mercury destroying Argus; (ii) Phaeton overturning the chariot of the Sun; (iii) The rape of Europa; (iv) The Dragon devouring the companions of Cadmus; (v) Perseus cutting off the head of Medusa; (vi) I^ycaon preare
all
from
classical
changing the Lycian rustics into frogs to avenge Latona; (viii) Apollo flaying Marsyas; (i.x) Jason and the Golden Fleece; (x) Hercules carrying off the apples from the Garden of the HesBelow this perides; (xi) Daedalus and Icarus; (xii) Apollo and Daphne. second row of subjects is another set of twelve panels with intertwined snake borders decorated with subjects chosen from the History of Charles V in the following order: (i) Charles as King of Spain, seated on his throne with attendants; (ii) The Battle of Pavia (i525),vvith the capture of Francis I, King of France; (iii) Retreat of the Turks, driven before Charles and his brother Ferdinand, King of Hungary, in 1532; (iv) The Death of the Due de Bourbon (v) The Siege of the Castle of S. Angelo, in which is imprisoned Pope Clement VII; (vi) The Deliverance of the Christian Captives in Africa by Charles; (vii) The Emperor Charles's invasion of France in 1536; (viii) Submission of the Duke of Cleves to the Emperor Charles in 1543;
paring
flesh; (vii) Jupiter
;
human
(ix)
The Invasion
of
Champaigne by
the
Emperor Charles
in
1544;
(x)
The
Proposals of Peace from the Protestants; the king in the centre, his brother F"erdinand, King of the Romans, on the right, Maurice, Duke of Sa.xony, on the left; (xi) The Submission of the Protestant Cities in 1546; (xii) The
vSubmission of the Landgrave of Hesse in 1547. The exterior circle consists of twelve oblong panels containing the following Biblical subjects: (i) The Creation; (ii) The Angel appearing to Adam in Paradise; (iii) The Creation
The Temptation in the Garden of Eden; (v) The rebuke of Adam and Eve; (vi) The Angel driving them from Paradise; (vii) Adam tilling the ground and Eve in sorrow; (viii) The murder of Abel; (ix) Cain hiding himself; (x) The entrance into the Ark; (xi) The Deluge; (xii) The Covenant made with Noah. The scenes representing the victories of the
of Eve;
(iv)
Emperor Charles
are apparently taken from the designs
by Maerten van
235

Veen or Heemskerk, copies of which (dated 1555, and published Amsterdam by Hieronymus Kock) are in the British Museum.
at
Parade shields were not always fashioned of metal. They were often made of wood covered with parchment, with an outer covering of velvet to which were applied plaques of embossed and damascened iron. Three superb examples of such composite targets are to be seen in the Royal Armoury of Madrid (D 65, 66, and 67). Two of them (Figs. 1307 and 1308) must have formed part of a gift made by Don Ferdinando Gonzaga, Duke of Mantua, to Charles V; for we have the testimony of two different authorities as to their
Fig. 1307.
Shield
About
Fig. 1308.
Shield
About
1530. The gift of Don Ferdinando Gonzaga, Duke of Mantua, to Charles V of Spain D 66, Royal Armoury, Madrid
The gift of Don Ferdinando 1530. Gonzaga, Duke of Mantua, to Charles V of Spain D 67, Royal Armoury, Madrid
origin, that of the Inventario de las
del Einperador, in \vhich sketches of them are shown, and that of the Relacion de Valladolid, which mentions "an old buckler, Moorish,' of gold and black inlaid work, with six medals,
annas
also finely worked, presented by the Duke of Mantua, garnished with blue " velvet and edging of gold and blue, and one other much like {Traiislatioii). The first .shield, 65, is not mentioned; but judging from the emblems
employed
'
in its
decoration
we have
little
doubt that
it
formed part of the
The
Moorish craftsmen, only that it was done frequently and with such success in Italy.
use of this adjective must not be taken to imply that the work was actually done by in that Moorish or Oriental style which was employed so
236

same
gift,
with two
the
as they apparently represent the union of the arms of the Gonzaga of the emblems that figure in the arms of Charles V. The general
is
opinion held
that
all
these shields were
made
in Italy in the first half of
XVIth
century. Circular targets of
wood devoid
met with. Many
have high
of any metal adornments arc also to be artistic value because such shields were frequently
Fig. 1309.
Painted SHIELD OF WOOD

:
Italian,
Collection
about 1540-60 Mr. George Durlacher
both internally and externally, for painted subjects from the hands illustrate an example from the collecof artists of the greatest fame. It came originally from the tion of Mr. George Durlacher (Fig. 1309).
the
field,
We
collection of Sir
Adam
Hay,
Bart.,
who purchased
it
in
Italy in the first
quarter of the
and convex, the surface being an Emperor distributing largesse painted in grisaille with a representation of to his troops. Numerous soldiers stand around, and camps can be seen in the
century.
It is circular
XlXth
background.
IV
All the other parts of the picture, the
armour and background,

I I
237

are executed in gold hatching. In the interior of the shield is shown a battle of horse and foot soldiers being fought in a field of standing corn. This
beautiful
work of
art,
which must have been produced under the influence
of
Italian painter of the period of Giulio dei Giannuzzi or Polidoro Lanzani, must, from its very fragile nature, have been intended solely for
some
parade use.
very similar shield
is
in
the collection of the
Duke
of
Fig.
Italian,
310.
Wooden
shield covered with leather
about 1560.
Now
Ex collections: Londesborough and Spitzer Dino Collection, Metropolitan Museum, New York
Norfolk, and others are to be seen in several of the public and private collections abroad.
bucklers painted with classical subjects in gold on a black ground were made at Naples, for in the Invent ario del Duque Ibtiqiierque (Madrid, 1883, pages 75-76) we find the entries: "A round
Many convex wooden
dA
Neapolitan shield, Neapolitan shield

shield of fig tree
all gilt all
with
many Roman
subjects.
.
wood
painted and gilt with a battle. with Neapolitan painting in gold and black."
. .
Another round Another round
238
GERMAN PAGEANT SHIELDS

Next we may mention the large series of targets of wood covered with leather which can be found in most public and many private collections. The example we illustrate (Fig. 1310) is in the Dino Collection, Metropolitan Museum of New York, and was formerly in those of Lord It is of wood, covered upon both sides Londesborough and M. Spitzer. with ciiiy bouilli, embossed and surface tooled, which even now is in nearly
occupied by a large medallion, upon which Perseus is represented delivering Andromeda from the Monster. This medallion is surrounded bv four smaller ones, in which are to be seen
pristine condition.
The middle
portion
is
Mercury, Marcus Curtius, Fortune, and a horseman. The whole groundwork is ornamented with grotesque figures and arabesques admirably drawn.
The inside common, is
is as richly decorated, and, what is still more unas finely preserved as is the face. Upon it are to be seen two round medallions with figures Peace and Truth and a small oval medal-
of the shield
lion representing a
work is entirely arm straps and the grip are also of tooled leather. Italian workmanship and dates from about 1560.
woman's head and a painted heraldic scroll. The groundcovered with arabesques and grotesque figures. Both the
This shield
is
of

regrettable that the only pageant shield signed by the great German armourer, Desiderius Kolman, still in existence to record his glory as a
It
is
worker
in
embossed armour, should have quitted

This
fact
his
hands
in
an unfinished
condition.
we
note in the absence from the shield of the rivet holes
by which the lining could be attached and by which the indispensable arm loop could be fastened (Fig. 131 1). It was doubtless the intention of Desiderius Kolman that this shield should bear witness to his work as an embosser of metal. He introduces in the border ornaments a The series of bear, wild boar, stag-hunting, and bull-baiting scenes. whole design seems intended to suggest an allegory of his own triumph over his Italian competitors, he himself being represented in the form of a bull which is vanquishing a huntsman on whose shield is inscribed the name negrol, a direct reference, of course, to the famous Milanese armourers. His superiority in this case over the Milanese school existed, however, only in his own imagination; for the confused and elaborated
239

composition on this shield is poor German art, and compares very unfavourably with the restraint which is so apparent in the works of the Negroli. The shield is circular and convex, with a fine black patine and of the very richest decorative ense)nb/e,Qmhoss,Qd and inlaid in gold. In the centre there is a rosette with a point surrounded by a wreath of laurel, which in its
Fig. 131
1.
Shield
German, 1552.
The work
of Desiderius Kolman.
Made
for Philip II of
Spain
A
turn
is
241, Royal Armoury, Madrid
surrounded by a narrow band bearing the following inscription

:
in
German
IN
.
DESIDERIO
AVGVSTA
In the
COLMAN CAYS DEN I5 APRILIS

.
MAY
IM
.
HARNASCHMACHER
.
AVSGEMACHT
552
JAR
rounded by of which it
field, symmetrically arranged, are four circular medallions surlaurel and myrtle and containing allegorical subjects, the meaning
is difficult
to construe.
The
240
figures
would appear
to represent

Fortitude in a triumphal car supported by men, Victory in another drawn by lions, Minerva, or Knowledge, in a third drawn by horses, and, finally.
Peace borne on the shoulders of several

the intervening spaces are other kings, seated on thrones, and surkings.
In
rounded by numerous figures, masks, and foliage. This shield, which can still be seen in the Royal Armoury, Madrid
(A 241) was part of the panoply made by Desiderius Kolman for Philip II of Spain. It was fashioned to go with the harness there numbered A 239, though strangely enough, in spite of its
being the signed
set
in
Fig. 131
2.
piece of the
inferior
it
is
slightly
workmanship;
to
which
that
Shield
of Matlicus Frawen-
goes
68,
prove
the
German,
1543. brys, the elder, of
The work
Augsburg.
though
^^^^^
.
Kol
^^_
Royal
Armourv, Madrid
f^j^^jj
celled in the
making body armour they were less successful alike as artists and as craftsmen in
of
their attempts to produce such purely decorative armament as they here essayed. An-
other signed and dated shield in the Royal Armoury of Madrid (D 68) is German,
make, the work of Matheus Frawenbrys (or Frauenpreis) the elder, an armourer who took over the atelier of Bric-
Augsburg
in
tius
first
Kolman
of Augsburg (Fig. 1312).

in
He is
mentioned
-i.
530 and appears to have

i.
died in 1549, or six years after this shield Fig. 1313. Shield (7Wi'.'Z.-it///A-.-j) J i ju J was made, r It IS siijned and bears i-u date ^ lor the ,,, ,, \^, German. The work of Matheus rrawenT1543. The /^///f(?;^ used by the Frawenbrys, the elder, of Augsburg. M 6, Royal
, .
brys,
and son, was a trefoil in a tulipArmoury, Madrid shaped shield, taken from their arms. Frawenbrys' actual work on this shield consisted of the making and embossing of it; it is recorded that the a(///a fortis etching of the surface was the work of Hans Burgkmair,
father
>,
241

having a brightened surface with motifs in gold. Besides bearing the signature of the armourer it is imjiressed with the guild mark of Augsburg. In the inventories of the Armoury between the years 1594- 1652, this shield is included amongst the
shield
is
The
circular
and
slightly convex,
weapons that belonged to King Philip 11; although, when it was made, this monarch was only sixteen years of age. In the centre of the shield is seen a
composition etched in aqua fortis above the slight embossing. For an explanation of the significance of the scene depicted we must look to the wording which accompanies each figure. The nude woman holding an oar on which we read forteza seems to be Fortitude in charge of a boat inscribed caro, meaning Humanity, which fights against the attacks of vortuna in the tempestuous sea of life. Her guide is the compass (engraved on the prow), her shield inscribed Fides represents Faith, and seems as if she were seeking help from the Divine Grace {gracia Dei), the
strange allegorical
symbol of which is an urn. In its early German style this shield is a beautiful work of art; though it is difficult to view with favour the introduction of a figure subject so large in scale upon such a comparatively small field. From the hand of this same armourer is that remarkable shield in the same collection of the so-called Hungarian type, M 6 (Fig. 1313); for with shields of this shape, called in Spain tablachinas, the Hungarian cavalry were armed in the German wars of about 1547. Upon the face of this shield is embossed the figure of a cock in the attitude of attack chasing a fully armoured knight. According to the inventories of the Madrid armouries for the years 594-1652, the shield is stated to have been the property of Francis I of France; but whether the attribution rests on an interpretation of the allegory of the cock and the knight, the cock being supposed to represent France chasing some enemy, or whether it is based on some documentary evidence which has since disappeared, even Count de Valencia was unable to say. As may well be imagined, the armourers of Germany also produced the more simply decorated circular shield, and in work of this kind we think
1
that in certain respects they surpassed their Italian contemporaries. The schools of Wolf of Landshut and the Kolmans of Augsburg, to complete
the fine harnesses they made for Philip II and the great nobles of Spain, worked circular targets in very beautiful taste. Such targets are to be found at Vienna, Madrid, and Turin, and also in the Dino Collection of the
Metropolitan
example on the famous Londesborough suit (Vol. iii. Fig. 1068), and of another, separated from its suit, we give an illustration (Fig. 1314). This last mentioned shield dates from the middle of the XVIth century, and is the workmanship of Sigisof
Museum
New
York.
One can
see an
242

of Landshut, though doubtless it was made to be sent to Spain. It is surrounded a broad border of fine etched by arabesques; while the central theme of its decoration, in a point in the middle, forms the finishing centre of a large rose of similar workmanship. The ground of the etching
partly black. The edge, instead of being of cable design, is strongly dentated, a characteristic that is found in many arms made for Spain. While the subject of the simpler shields of German origin is under
is
mund Wolf
partly
gilt,
Fig.
3 14.
Shield
German, middle of the XVIth century. The work of Sigismund Wolf of Landshut Metropolitan Museum, New York
discussion, it would be well to note a very fine example also in the Dino Collection of the Metropolitan Museum of New York (Fig. 1315), which was
formerly considered to have come from the same Landshut workshops, but which now, from the evidence of its decoration, must have been part of the fine harness made for the famous Sir John Smythe by the armourers whom we have claimed as English and forming the Greenwich school {ante, chap, xxix), but whose works are so strongly under German influence. As we state (on page 39, Fig. 1119), the actual suit to which this example belongs is now wholly in the Tower of London, and we know there was a
243

shield to the suit, as it is mentioned in the inventory of 1611 and again in that of 1629, which is the last record of it until shortly before 1888. The
shield in question is circular and convex, and has three broad etched bands diverging from the centre, which divide the field into three sections. At
surrounded by a welldesigned strap border containing allegorical figures Fortune, Justice, and Strength. Other smaller figures, accompanied by interweavings and foliage,
the middle of each section
is
a large medallion
Fig.
31
5.
Shield'
The work of the Greenwich school. Belonging to the harness of Sir John Smythe, third quarter of the XVIth century, now in the Tower of London (Class II, No. 84) Dino Collection, Metropolitan Museum, New York
are finely etched band. All these
upon the three radiating bands and upon the wide border ornaments are gilt upon a black ground stippled in relief. This shield, though it is certainly part of the harness we have mentioned, is not drawn in the Jacobe MS., which gives an illustration of the suit. The author has endeavoured to trace its history before Monsieur Bachereau of Paris sold it in 1888 to the late Due de Dino. It appears that Monsieur
Bachereau purchased it from Messrs. Willson Brothers of London, in July 1888, who in turn had acquired it from Mr. J. M. Hodgkins of London.
244

will conclude our descriptions of German pageant shields by giving an illustration of a rondache of gilded copper, which we should imagine
We
formed part of the original "Spanish" armoury of the Tower of London

so as to look like a warming-pan cover. Its very ugliness makes it an amusing curiosity. It is, however, of the crudest workmanship. The labours of Hercules are embossed upon it with an almost savage
(Fig. 1316).
It is
now cleaned
simplicity.
It
bears
AiJ
the
inscription:
advltkrio deianira conspvrgans

thc date 1579.
occiDiTN'R CAcvs
HERCVL opi'RiMATVR, and
The
date has
Fig.
"
3 16.
Shield
1
The Spanish
General's Shield."
English or Dutch workmanship,
579.
Tower
at
of London, Class V, No. 53
some subsequent period been
altered to 1379, with the result that in former
times this poor example of late XVIth century German metal-work was shown to the public with the following amusing and characteristic early
XlXth century label: "The Spanish General's Shield, an Ensign of Honour. Upon it are
some
not worn by, but carried before him as depicted in very curious workmanship,
of the Labours of Hercules, and other expressive allegories, which to throw a shade upon the boasted skill of modern artists. This was
seem
made
near a hundred years before the art of Printing was
known
in
England."
IV
245
K K
FRENCH PAGEANT SHIELDS

In Chapter XXVIII of the third volume, and again when we illustrated the Colbert casque {ante. Fig. 1264), we discussed at considerable length the
works
of a certain
unknown French armourer.
capitulate our surmises about his
would be wearisome to rework and his school. But inasmuch as this

It
particular armourer was exceedingly prolific in the production of pageant shields we shall illustrate eight examples, which either were his own actual work, or were produced under his direct influence. Four are of the circular
rondache order, three are kite-shaped; while one is more directly under the Italian XVth century influence as regards form. Of the three circular ones none can equal that superb example in the Royal Armoury of Windsor known formerly as the Cellini shield (Fig. 1317). This shield has for over fifty years been reputed to be a work of that great Italian artist. We need hardly say that there is no valid ground for ascribing it to him on the contrary, all goes to
;
disprove the theory. No true record exists as to how the Windsor Armoury became possessed of this treasure; but when Her Majesty Queen Victoria lent this shield to a loan exhibition at the Ironmongers' Hall, Mr. G. R.
French,
who
described
"
it
for the catalogue, states,
but
we cannot
what authority, that During the Rebellion the shield in stolen from the Royal Collection, and was not restored until the reign of George III, who gave three thousand pounds for its recovery." It is traditionally said to have been presented by Francois I to Henry VIII at the Field of the Cloth of Gold in 1520. These ambitious attributions, however, hardly tally one with the other; for if the shield were made by Cellini, and given by one Sovereign to the other on that memorable field of Ardres, Cellini would have been but nineteen years of age when he produced this masterpiece, about which time he was working out his apprenticeship with the Florentine jeweller, Antonio Marcone. It may therefore be considered quite misleading
to continue to attach the
on question was
find
example of parade armour. But, as a matter of fact, so unlike that master's work is it, and, indeed, so assertively later in style and workmanship that the appellation remains a mere label; while by adhering to its old name no difficulties can arise as to its identity, for it has a European reputation, and has many times been described and written about, always under the heading of "The Cellini
of Cellini to this fine
name
246

Shield of Windsor."
There has been
in the past considerable
controversy as
to the nationality of this chef-d'auvre of the armourer's art. Italy and Spain have both had credit for its production but no doubt now exists as to its
;
French
origin,
and
it
is
most certainly the work of that distinguished
artist
Fig. 1317.
The "Cellini" Shield

The Windsor Armoury
The Louvre
School.
whose name up to the present has remained undiscovered. The shield is of steel, circular and slightly convex in form. From the centre springs an ornamented boss terminating in a spike. The decoration, which is carried to the
highest possible pitch of refinement, consists of embossing in low relief, in surface chasing, and in magnificent gold and silver damascening; overlaying,
247

plating with gold and silver, russeting and blueing, all being used lavishly, The surface is yet with necessary reserve upon its face enrichment.
divided by male and female herm-figures into four compartments, each containing a subject illustrative of the life of Julius Caesar executed in
armour and accessories being damascened with gold in the most elaborate manner. Above and below these panels are bands of oval cartouches
relief,
the
containing scrollwork connected by square links with smaller guilloche and

fret
borders,
all
richly damascened.
compartment represents Caesar receiving the tokens of the death of Pompey: a soldier, possibly Achillas or Septimius, who has just landed from a boat, presents him with the head of the vanquished warrior and his signet ring. The second depicts a combat of horse and foot The third composition shows a soldiers, probably the battle of Thapsus.
first
The
the accidental staining of Caesar's robe with the blood of the victim being regarded as a prognostic of evil. The fourth illustrates another conflict, probably the battle of Munda, in which Caesar rallied his troops at his own personal risk. The following Latin inscription encircles the shield near
sacrifice,
its
outer margin
minimvs magnam capit amlhtionem, QVî REGNA EVERTIT, DESTRVIT IMPERIA; SVSTVLIT E MEDIO MAGNI VITAMQVE DECVSQVE POMPEII AVEXIT C^SARIS IMPERIVM C/ESARIS IN CCELVM MITIS CLEMENTIA FERTVR OU^ TAMEN HVIC TANDEM PERNICIOSA EVIT. ANNVLVS EXEIT EI LACHRYMAS CERVIXgVE RESECTA POMPEII, HINC PATVIT QVAM PROBVS ILLE FORET IN SACRIS DOCVIT VESTIS CONSPERSA CRVORE HVIC PRAESAGA MALI TALIA FATA FORE. SI VIRES IGITVR SPECTAVENS [stc] AMHITIONIS NON GRAVIVS VIDEAS AMI3ITI0NE MALVM.
AMurrvs
iiic
which arranged and translated reads:

This very small rim includes the great
(spirit of)
ambition,
Which overturns Kingdoms,

It It
destroys Empires; raised from the midst (of others) the life and glory of the great Pompey, took away the Empire of Caesar.
The mild clemency
of Caesar
is
extolled to Heaven,
Which, however, was
at length destructive to him.
248

The
and severed neck of Fompey drew forth tears from hirti. manifest to this man how upright he would be. The garment bespattered with blood in the Sacred Rites taught That for him they would be such fateful foretellings of woe.
ring
He had made
If therefore
You may
see that there
you regard the power of ambition is no greater evil than the seeking
for
honours.
word must be said
for the matchless quality of the gold
and
silver
damascening. The beautiful arabesques that form the theme of the decoration

Hnglish collection. One of the two in the Wallace Collection (Fig. 1318), and the specimen in the private collection (Fig. 1320), very closely resemble the Windsor example, inasmuch as both have central spikes around which the motif of battle scenes is represented. These shields have never been
damascened with gold or

alone for their decoration.
but rely upon their fine surface chasing There is, however, the remains of surface gilding
silver;
Fig. fsip.
Shield
The Louvre
Ex collections: Vassal! and Meyrick. School, about 1590. Wallace Collection (Laking Catalogue, No. 661)
on the example, No. 661, of the Wallace Collection (Fig. 1319), which shows a slightly different form of rondache, having no central spike, and thus
allowing a larger field in the centre for the subject, as in the case of the Charles IX and so-called Henri II examples in the Louvre. It was exhumed
Although it has suffered considerably from rust oxidization and from the pickaxe which struck through it, breaking it into three parts, it still remains a record of the ultra-refinement of embossed ironwork. From the slight traces which remain it can be seen that its whole surface was
in
France.
250

originally enriched with gold
and
silver overlaying
and damascening which,
however, according to Mr. Skelton, was "removed to gratify the avarice of the finder." It was rescued by Count Vassali, into whose collection it passed,
and under whose guidance
it
was
restored.
From
his
keeping
it
passed
Fig. 1330.
Shield
French School, by an unknown armourer, about- 1570.

In a private collection in England
Samuel Rush Meyrick, F.S.A., of Goodrich Court, The Engraved Illustrations of Antient Armour," by and is illustrated in Joseph Skelton, F.S.A., Vol. i, Plates XLIX and L [a and b), who called it the shield of Fran(ôis I, and described it as having probably been executed from
into the collection of Sir
"
a design of Giulio dei Giannuzzi (Romano) or Francesco Primaticcio. The other designs of a similar character do not corroborate this most interesting
251

attribution.
stance of
The ingenious deciphering which we give, is taken from

subject.
is
of the central battle scene, the subSir Samuel Meyrick's work: it is a
most graphic description of the
occupied by a panel formed almost to the outline of a conjoined circle. In this is most delicately embossed and chased in low relief a composition intended to represent the retreat of Charles
centre of the shield
The
Brandon, Duke of Suffolk, following on his march on Paris. He had advanced within eleven leagues of Paris, burning and plundering on his way in order, at the instigation of the Due de Bourbon, to crown his sovereign, Henry.VIII, as King of France. The English army was, however, defeated through the French calling out the levy en masse in aid of the army under
Tremouille.
The
extensive
"
landscape represented
is,
according to Sir
Samuel Meyrick, that from the mouth of the Somme to the bridge of Bray, and of the coast as far as Calais." In the foreground are the French infantry flanked by cavalry and artillery. In the distance are views of various fortified towns and small companies of the conflicting armies seen between the hills. In the two angles that shape the central panel into its double-circle form, the top one is filled with an oval, crowned escutcheon of the Arms of France encircled by the collar of the Order of St. Michael, an order instituted by Louis XI in 1469. This is supported by two nude
each appear griffin-like monsters bound captive. In the lower segment are two recumbent, partly draped, female figures, possibly representing Bellona and Minerva; while behind
at the side of
recumbent figures of boys:
and around them are grouped
their respective attributes.
The narrow ribbon
borders to these compositions have formerly shown damascened Latin inscriptions, which have now almost entirely perished; but among other words can be traced: t anglorvm m.b. ten. gvi
. . . .
The bordering
seven different
of this fine shield
is
composed of fourteen dolphins
in
and as many crabs placed alternately. The groundwork from which they are embossed is engraved with a waved design. This shield, like the three others of this make which are in England, appears to date from the third quarter of the sixteenth century. Turning to the kite-shaped shields by the same hand, we confidently put forward that example, which is preserved with its morion helmet (Fig. 1285) in
attitudes,
the Galerie d'Apollon of the Louvre, as being of prime importance (Fig. 132 1). In the first place it is a piece to which historical interest attaches, by reason
of the fact that

it
it
was made
for
King Charles IX, and

252
in the
is
second place
is
remarkable from the circumstance that the medium
that of solid
Fig. 1321.
Shield
IX
Of gold and enamel which

of France.
Now
IV
with the casque (Fig. 1285) were made for Charles French, by an unknown armourer, about 1570. in the Galerie d'Apollon, Louvre, Paris
253
LL

gold.
occupied with an upright panel, roughly oval in shape, embossed and finely chased in low relief with the representation of a desperate encounter at the ford of some swiftly-flowing
centre of the shield
is
The whole
on the opposite bank of which are to be seen in fine perspective the pitched tents of an army. The space between the central panel and the edge
river,
arranged strapwork which can also be seen on the Colbert casque (Fig. 1285). Pieces of artillery, trophies of arms, bound captives, and swags of fruit in splendid but littered confusion are placed between the straps while a large mask above and a large mask below complete the composition. The whole of the groundwork of the border is engraved with foliated scrollwork. Surprisingly rich in effect are the opaque white and translucent enamels with which all the details are enriched. These alone, from the method of their
;
of the shield
is
utilized as a field for the display of that strangely
application, proclaim the French provenance of the shield. The moulding of the border is slightly convex, and is decorated with smaller strapwork ovals
containing the crowned letter K. These are on a laureated groundwork. The guilloche design peculiar to this armourer's work is very apparent in the details of the strapwork. This shield, which still retains its original velvet
lining,
(Fig. of Antoine Caesar,
was bought, together with the gold morion made en suite with it 1285), by the French government in 1793 at the sale of the collection
Due de
Choiseul-Praslin.
We give
hand, and, as
an
it
illustration of another shield
happens,
is in
which comes from the same the Louvre (Fig." 1322); the same Museum
this is the shield
belonging to the unfinished suit said to have been made for Henri II of France. We have referred to this harness (Vol. iii, page 348,
Fig. 1092, and ante, page 185). The shield is in a far more finished condition than the rest of the suit. The fact that both the Louvre pageant shields have
a reputed French royal provenance further strengthens our theory in the French (Parisian) origin of this particular series of pageant armour. It is remarkable that the Henri II shield has practically the same decoration as
example. The strapwork, the panels, the masks, the bound captives, and the trophies are all placed in the same position the battle scene in the centre and the ornamentation of the border are, however,
that of the Charles
IX
different.
As might have been

shield
Henri
subject.
II
has
expected, the iron medium of this so-called necessitated a slightly broader treatment of the
of the decoration
is
The rendering
is
perhaps a
little
earlier.
The
strapwork
more vigorously put in; but the figures in the battle subject, which evidently depicts some contemporary combat, for pieces of ordnance
254
it i^^-jans
-'îâ--
'fr^'^t
Fig. 1322.
Shield
Said to have been
made for Henri II of France. French School, by an unknown but recognized armourer, about 1570 The Louvre, Paris
255

are to be seen in use on the distant battlements, are worked in close resemblance to those on the Windsor shield. As we have already stated, though
Fig. 1323.
Shield
Said to have been presented to the University of Turin by Princess Victoria of Saxony in the middle of the XVIIIth century Royal Armoury, Turin
the shield
incrusted with gold and silver, and though the ornamentation introduces the initial H. (Henri) and the crescent moon, the emblem employed
is
256

by Diane de
lined.
has not been quite finished. It now has that curious leaden colour which iron takes before it is russeted: the shield was never
Poitiers,
it
Yet another shield of this same form and indubitably from the same hand is in the Royal Armoury of Turin (Fig. 1323). It may be regarded as even a finer achievement than either of the Louvre shields, being perhaps a better composition, richer in its damascening, and perfect in condition. In
the past, as in the case of nearly all these great pageant shields, Italy has had the credit of its production, and it almost goes without saying that Benvenuto Cellini was its supposed maker. Apart from the exact similarity
as
regards workmanship which
it
bears to those
shields
described, we see on it the crescent- crowned head of dear to the heart of the French King, Henri II. Nothing definite appears known as to its past history; though it is vaguely suggested that it became
we have just Diana, the emblem
an Italian royal possession as war booty, but more recent researches suggest that it was presented to the University of Turin by Princess Victoria of Saxony, niece and heiress of Prince Eugene of Savoy, in the middle of the XVII Ith century. The large central medallion, like the four smaller ones that surround it, is embossed with subjects that refer to Jugurtha and the wars waged against this African king by the Romans. As in the case of the Windsor shield a lengthy inscription in Latin surrounds each subject, giving us the true construction of each incident represented. This splendid shield
retains its original lining.
the example preof Vienna (Fig. 1324). Shown there as having Armoury and stated to be of Italian workmanship, it has not to Charles belonged as one of the most characteristic yet, except by a few experts, been recognized
is
Perhaps the most remarkable of this series of shields
served in the Imperial
examples of our unknown French armourer's work. Though it resembles some decorative tablet rather than an example of pageant armour, we ourselves can recognize in
developed,
and
It
it
all
if
plates attached to a common outline being influenced by the position of ground; its broken, kite-shaped the interlaced strapwork that constitutes its border. It could not possibly
have alluded.
we may is made of superimposed
those peculiarities of workmanship strongly use the phrase tricks of design, to which we
have belonged to the Emperor Charles V, for

dates far into the
XVIth
known works, showing Every excuse can be made
century, and is the eccentricities of his
our opinion it obviously quite one of the armourer's latest

in
style
carried
to
excess.
for experts in the past in attributing the design of
257
Fig. 1324.
Shield
French, by an unknown
artist,
about 1580.
From
a photograph
by
J.
Ldwy, Vienna
258

this shield to
Michael Angelo; for the anatomical rendering of the figure But on closer examinasubjects certainly suggests that master's school. the French influence is very apparent in the treatment of the masks, tion strapwork, etc. The pronounced style of the French armourer is also very manifest. In the middle of the shield is an oval panel placed horizontally, showing a savage encounter of nude warriors; while at the sides, and above and below it, are four smaller oval, upright panels with subjects that appear to depict episodes in the life of a hero of classical times. On the remainder of the field of the shield are represented ten captives, bound and partially
two are wearing armour of Roman fashion. Helmets, cuirasses, and weapons are also represented among the captured spoil, the shape of the trophy having obviously been determined by the space which was at the disposal of the artist. The field is wholly worked to a matted surface in the customary manner of this armourer's style. The strapwork borders, which are most cleverly interlaced, are damascened with arabesque designs in gold. Damascening and plating with gold and silver enrich other portions
naked
;
In the strap borders at given intervals are rivets, the heads of which bear the designs of lions' masks; four of them, larger than the This extraordinary shield, a wonderful rest, hold rings in their mouths.
of the shield.
French Renaissance art, was duplicated at the time of its production; indeed, a replica was formerly in the Museum of Prague, passing from that collection into that of Count Wrangel of Schloss Skoklosten on the Malarsee. According to the late Herr Wendelin Boeheim that shield had been much mutilated. Needless to say, the original has been copied many times by modern artists, and with a fair measure of success.
example of
late
259
CHAPTER XXXV
THE SWORD AND RAPIER OF THE
XVlTii
CENTURY
|UCH
liked to have treated the subject as a whole, he is again compelled to deal separately with one of its branches, this time with the rapid evolution of the rapier or
as the author
would have
to this period the mailed gauntlet thoroughly protective body armour formed so effective
town sword.
Up
and the an addi-
behind the parries and guards of the sword that any elaboration of the hand-guard attached to the hilt which might have restricted the free use of the weapon was probably very little studied. But when, in the second quarter of the XVIth century, it was recognized that freedom of action in a fight was a greater asset than the wearing of heavy and cumbersome
tional line of defence
became absolutely necessary to strengthen the first line of defence against the thrusting and cutting weapon. That this point was quickly and thoroughly appreciated is evident from the rapid improvement that was made in the science of swordsmanship and in the defensive qualities of the sword hilt. Instead of dealing immediately with the sword and rapier of the XVIth century we will go back a few years, picking up the thread of our story where we left it, and mention once more the hilt of that particular formation which, constructed with pommel, straight quillons, large pas-d'dne and ring-guard, marks the transition of the sword with simple quillons to the fully developed rapier form. The Musde d'Artillerie of Paris shows us two admirable weapons of this class, J 70 and 71, one a little more advanced in form than the other Both hilts appear to be of North Italian or possibly (Figs. 1325 and 1326). Spanish origin; but the method of their decoration an Oriental arabesque design executed in gold and silver azzimina has led to the belief, a belief strengthened by the appearance of Arabic characters on the knuckle-guard
armour as a
set-off against the
improvement
in firearms,
it
of one of them, that though the actual foundation of these hilts is of European workmanship, their decoration was entrusted to a craftsman from the East.
260
THE SWORD AND RAPIER OF THE XVIm CENTURY

however, of their being enriched in the true arabesque manner is this; for that fine series of swords and daggers, the product of late XVth century Venice, shows all these Eastern characteristics, doubtless to that port's constant intercourse with the Orient. The formation owing of these hilts is common to those of nearly all civilized Europe early in the XVIth century, and is not characteristic of that of any particular Latin
fact,
The
no proof of
Fig. 1325.
Sword
century
Fig. 1326.
Sword
Italian or Spanish, first quarter
Italian or Spanish, first half
of the
J 71,
XVIth
of the
J 70,
XVIth century
d'Artillerie, Paris
Musee
d'Artillerie, Paris
Musee
country. The fence associated with these particular swords consisted to a great extent in untutored cuts and guards and in such play as might be prompted by natural cunning. This continued until the first quarter of the
was comparatively simple; but as the second quarter of the century progressed the natural fighting soon gave way to the scientific sword-play shown by the fencer in the champ clos or, " which is the place of combat," with the as it was termed, the steccata, M M 261 IV
XVIth
century,
when
the hilt of the sword

result that
change
find the hilt varying in its fashions, but always to meet some An additional side ring here or a in the science of sword-play.
we
counter-guard there was added from time to time as it was found necessary to protect the hand from some newly introduced thrust or coup. With so
many good swords
extant,
it
is
comparatively easy to trace the different
changes as they were made, although the rapier hilt in its most comThe swords of this plicated form would seem to defy explanation. transition period that we illustrate have the pommel, the grip, the straight quillons, and, in some cases, both the pas-d'dite and occasionally the knuckle-guard. Only slight alterations were necessary at first to furnish
better protection.
The bending
of the quillons
was the
first step.
Sometimes
Fig. 1327.
Showing the correct grasp ok a XVIth century SWORD or RAI'IER HILT
one branch of the quillon is seen curved towards the pommel so as to form a knuckle-guard; while the other was given a symmetrical curve downwards towards the blade. With the addition of a ring-guard attached to the quillon, then of another, though possibly of smaller dimensions, extending from the
end of one pas-d' due
counter-guards connecting all three with, perhaps, a small shell, the final general form of the rapier hilt is reached. The derivation of the word "rapier" has been a subject of considerable controversy. By some it is suggested that it has its origin from the French raspitre and Spanish raspar, to scrape or to scratch, while others derive it from the German rappen or raffen, to tear out.^
to the other,
and
finally of
the base of the grip and crossing the fingers practice of grasping only over the quillons round the top of the blade through the pas-d'dne{seQWo\. ii,
The
'
Egerton Castle, "Schools and Masters of Fence," 1855,
p.
234.
262
THE SWORD AND RAPIER OF THE XVIth CENTURY

294, also Fig. 1327) necessarily suggested the advisability of protecting the hand as much as possible on either side of the hilt. It was this method of grasping the hilt that led to the actual grip of the rapier being reduced to
p.
the shortest possible dimensions, more especially in the second half of the XVIth century. It was so fashioned as to rest against the palm of the hand, and was held there by the third and fourth fingers, the true hold of the weapon being relegated to the first and
second fingers.
of the
XVIth
In the second quarter century the two-handed
and bastard swords, and the more portable and convenient one-hand or short sword were all in use. Varieties of the close-hilted and back-sword were also
coming
while there existed a peculiar combination of swords known in England as the "case of rapiers." These were not actually rapiers, but
into fashion
;
were more like swords worn back to back in the same scabbard, resembling those short Chinese swords of comparatively recent date which are conIn its early complete stantly met with. form, in the middle of the XVIth century, the hilt most often seen especiis the ally in Italy type that, in the collector's jargon of to-day, is termed
XVIth century which we give from a finely decorated Victoria and Salting bequest, example in the Salting becjuest to the Albert Museum Victoria and Albert Museum (Fig. 1328). So much ingenuity was displayed in the invention of variations in the form of the hilt, that it would be quite impossible to attempt a classification. Nationality, particular usage, and adaptation to decoration, were all factors which " " brought about variations in the shape of the swept hilt. But the general principle of design of all these hilts will usually be found the same, in spite of the doubling or trebling and even interlacing of the counter-guards and
Italian, third quarter of the
"swept,"
an
excellent
illustration
of
Fig. 1328.
Ravier
connecting bars.
as those
Changes undergone by the
in the
hilt.
shape of the blade are not so complicated During the development of the sword into 263

the rapier, alterations were for the purpose of increasing the efficacy of the thrust, without impeding the use of the cut. With this object in view, the blade gradually assumed slenderer proportions and at the same time increased
with the result that towards the close of the XVIth century it was seldom less than four feet in length from hilt to point, and sometimes even exceeded five feet. This observation induces the quotation here, though perhaps
in length,
B. iii, page 284: "Smithearly in the chapter, of a passage from Strype, field Bars, so called from the Bars there set up for the severing of the City Liberty from that of the County. June 23, 1580. The French Imbasidore,
little
Moui.ser (Malvoisier) ridinge to take the ayer, in his returne cam thowrowe Smithfild; and ther, at the Bars, was steayed by those offisers that sitteth to cut sourds, by reason his raper was longer than the statute. He was in a great feaurie, and dreawe his raper; in the meane season my Lord
Mounswer
Henry Seamore cam, and so steayed

w**"
the matf.
Hir
Ma'''' is greatlie
ofended
the offisers, in that they wanted jugement." The rigidity and lightness necessary in such long blades were obtained by a system of grooving and
channelling in a slender but highly tempered piece of steel. The bladesmiths had to put forward their best powers in this work; they often inscribed their names either in the grooving or on the flat surface of the blade. The channelling seldom extended more than a third of the way down the blade; since, for the purpose of retaining its power, it had to be preserved flat towards the But whatever means were taken to lighten this weapon, its length point.
rendered attack somewhat slow. The strokes of a rapier when used without the auxiliary dagger or cloak were evaded as much by movement of the feet
and turns of the body as by direct parries with the weapon itself. Fashioned on the principle of the foining swords of the period of 1480 to 1530 is a large group of decorated swords dating from the middle of the XVIth century, known by the name of " tucks," which must have been employed for the same purpose that of thrusting alone and which have a length of grip that enabled them to be used by both hands to gain more
power, a characteristic of the bastard, or hand-and-a-half, sword. Of these there is no finer example than that knightly weapon preserved in the
377 (Fig. 1329). Of the past history of this notable estoc there is no record; though there is every reason to suppose that its attribution to Henri H is well founded. The pommel itself, the ends of the quillons, and the centre of the ring-guard introduce on the largest pos-
Musde
d'Artillerie of Paris, J
King's name, the surface of the letters being minutely damascened with gold; while the remainder of the hilt is
sible scale the initial letter
"
H " of the
264

finely
chased and
grip, perly this

;
The
we
is,
consider,
trophies eminently French in style. of sufficient length to balance the hilt hardly prohowever, a modern addition. The blade, like all estoc blades of
gilt
floral
is is
with small
early
XVIth century date,
very strong and of bayonet-shaped section; while
Fig. 1329.
Probably French, middle of the
Thrusting SWORD (estoc) XVIth century. J 377, Musê
d'Artillcrie, Paris
beneath the ring-guard of the hilt is a triangular cap made to fit over the top of the scabbard. This is a fine fighting- weapon and formidable for the purpose it was doubtless intended to serve simple thrusting. Furnished with a different type of blade, but made to serve the same purpose, is another
sword of large proportions
in the
Musce
265
d'Artillcrie, J
95 (Fig.
1330).
The

massive pommel and the drooping ends of the quillons are treated in the same general decorative manner, which is also followed to a certain extent in the central ornament of the single ring-guard. Chiselled and gilt leafage, borders of silver beading", and narrow panels of most minute gold damascening constitute the details of the decoration of the
hilt.
As
in
the case of

towards the third quarter of the XVIth century, for it fits it very perfectly and the balance of the weapon is admirAnother example, worthy of note, which may be looked upon as of able. North Italian workmanship of about 1560, can be seen in our own easily accessible Wallace Collection, No. 675 (Fig. 1331). It came from the collection
that the hilt
was made
for the blade
Fig. 1331.
SwoKD
North
Italian,
middle of the XVIth century Wallace Collection No. 675) (Laking Catalogue,
is
of Sir
tions."
Samuel Meyrick, and

^
illustrated in Skelton's
"
Engraved
Illustra-
a fanciful fish-tail shape; while the ends of the quillons curve markedly towards the blade. The hilt, which has a single ring-guard, is russeted and is decorated with chiselled acanthus leaves and
The pommel has
arabesques in gold azzimina. 'J'he grip is of light wood and, here again, it is too short and is not the original one made for the sword. The blade is of flattened hexagonal section, grooved the whole way down the face. An armourer's
Vol.
II,
Plate
cm.
No.
i.
267

slight variation of this type, which has ahiiost the appearance of belonging to a different family of weapon owing to the addition of a modern and too short a
mark, which has not been
identified, is
stamped on the
ricasso.
grip to the
which was
that very fine sword in the collection of Mr. Ernest Kennedy, formerly in the Spitzer Collection (Fig. 332). The quillons are long
hilt, is
1
Fig. 1332.
Sword
XVIth Kennedy
century
North
Italian, third. quarter of the
Collection: Mr. E.
and diagonally curved

defence.
The pommel
while the guard shows the duplicated ring form of is large and spheroidal, to balance the heavy fighting
blade of the weapon. Like the whole of the hilt, the ricasso of the blade has a russeted surface heavily encrusted in silver with cherubs' heads,
arrangements of
ornamentation of the latter part of the XVIth century which found particular favour in England, and to which we shall have to refer later. Spitzer recorded no 268
leafage,
etc.
North
Italian style of
THE SWORD AND RAPIER OF THE XVlm CENTURY

provenance to this sword; but
existence.
it is
one of the
finest of its particular type in
of the true two-handed sword when we described the Claidheatnh-nior of the Scottish Highlands (see vol. ii, pp. 302, ei
seqq.).
We
made mention
Otherwise we have scarcely alluded to
it;
for,
apart from fabulous
FîG. 1333.
The Emperor-elect Maximilian represented learning the use of

^
THE double-handed sword

Plos2 2ufechten,
in
From
the woodcut by H. Burgkmair,
Wie der Weyss Kunig Der Weiss Kunig
inaisterliclien ivas
mighty swords of unknown ages, it is scarcely met with until the advent of the XVIth century. As was the case with nearly all sword-play, the fight of the two-handed sword was technically of small account until the end of the XVth century. The unwieldiness and ponderous nature of the weapon were such that its actual use was slow and laboured. According
tales of
to the great fencer,
George
based on the fight of the

IV
"
possessed a system of fence of its own, short staf of convenient length," a vague phrase
Silver,
it
269
N N

which seems to mean no more than a stout quarterstaff of a length suited to the height and powers of its owner. Unlike the hand-and-a-half, or bastard, to sword, which could be wielded with either one or two hands, according the call of the moment, the two-handed sword was of necessity the weapon of the large and powerful man; so in the rank and file it was entrusted to the strongest men-at-arms, many of whom were made to act as escort to the " Auncient" or Standard Bearer. For all this, many in the highest ranks of society became VIII was an proficient in its use. King Henry
adept
in
wielding
Greenwichin 151
At a tournament, held at VI 1 1, 1, Hall records that Henry

it.
with two others, challenged
comers to fight every of them xii. strokes with two-handed swordes," and that the King displayed "his hardy prowes and great strength, apparently to the delight of all." The two-hander was recognized as worthy of something more than mere reall
"
when employed against any other weapon, even though that weapon was assisted by some
spect
auxiliary defence, such as the buckler. Its ponderous sweeping strokes could only be parried
by a very strong and a very active man, if Maxinot by use of the volte or derobenient.
Fig.
For the purpose of practising swordplay. German, first half of the
woodcut taken from the fVeiss Kunig {F\g. 1333). The actual length of the two-handed sword from pommel to point sometimes apXVIth century Ex Londesborough Collection proached six feet. It was double edged, like the majority of the swords of the XVIth century. Its hilt was furnished with powerful quillons, often with a ring on either side, if not with a more complicated guard. It is not unusual to find below the quillon guard, and on the blade itself, two projecting pointed bars or
the
Two-handed sword 1334. with blunt edges and NO POINT
milian, Hmperor-elect, can be seen practising this last-named method of elusive guard in
Spain ih& falsaguarda, which, in a measure, protected the hand. In the commoner German and Swiss two-handers, that part of the blade between the quillons and the lugs was sometimes covered with leather. We believe that, with the exception of the Scottish weapon, the two-hander was seldom borne in a scabbard; in contemporary pictures it is always seen carried over
lugs, called in
270

the shoulder at the slope, like a halberd or partisan. It must not be imagined that the exercise of the two-hander at this period consisted any longer in haphazard hewing and cutting: it was based on the soundest principles of swordsThe chief requisite for this sword was great muscular strength manship. combined with suppleness of wrist. The point was rarely used and the cuts
m.
Fk;. 1335.
Two-handed sword
of the
Fig. 1336.
Two-handed sword
of the
Italian, first half
century Wallace Collection (Laking Catalogue, No. 258)
XVIth
Italian, first half
XVIth
Collection
:
century Mr. F. Joubert
were sweeping, and the parries were counterblows across the adversary's line of attack (E. Castle, "Schools and Masters of Fence," p. 76).^ Dummy swords of the proportions of the great swords them.selves are occasionally come across, known as "wifles"; we illustrate one which was formerly in the Londesborough Collection (Fig. 1334). These were employed for practice in acquiring the use of the two-hander, and have blunted, pointless blades called "waster" blades. Of two-handed swords extant, those of Italian and
'
Cf. Harl.
MS., 3542,
fif.
82, 85.
271

Spanish origin are certainly the most finely constructed; their guards are simpler, and the make of their blades vastly superior to those found upon the two-handers of other nations. There is in the Wallace Collection (No. 258) an excellent example of this type (Fig. 1335) of Milanese workmanship of about 5 10. The hilt is of blackened iron, the pommel is shaped like an
1
Fig. 1337.
Two-handed sword
The
hilt
Collection:
probably of English workmanship, the blade Italian. About 1540 Lord and Lady de Lisle and Dudley, Penshurst
inverted pear, the quillons are straight, and there are rings on either side. The faceted wood grip is covered with leather. The blade, the upper portion of which is etched and gilt with figures of St. Peter, St. Catherine, St. Paul,
and
45 inches long and of flattened, diamond-shape section; the ricasso has slightly curved sides, terminating in two lugs. Another twohander of the Italian order is in Mr. Felix Joubert's Collection (Fig. 1336). It is somewhat simpler in its enrichments and has lost its grip; but it is a
St. Barbara, is
272
THE SWORD AND RAPIER OF THE XVlm CENTURY

finely proportioned
weapon of admirable balance. There is in the collection of Lord de Lisle and Dudley at Penshurst a fine and ornate two-handed sword and since it has chiselled upon its pommel (Fit;'. 1337), the bear and ragged staff, which may be accepted as the
cognizance of the Warwick family, there is the possibility of the hilt being of English workmanship, though the blade
is
certainly Italian.
We
find also a certain
group of very
simply constructed two-handed swords that can assuredly be regarded as of English make, and dating from the closing years of the XVth century. In the collection of
Mr. Seymour Lucas is a sword of this class, perfect in every respect with a fine blade (Fig. 1338). It was discovered in an outhouse of an old Priory in Ncyfolk. Mr. Weedon Grossmith also possessed a very good example made the
rarer
by the
fact of its retaining its original scabbard.
The
collections of Mr.
H. G. Radford and Mr. W. H. Fenton each
contain a specimen of this class of English made weapon. Although the constructional principle of the Italian
two-handed sword of the early years of the XVI th century was retained by all countries which had adopted it, the individual influence of each country soon made itself apparent in the matter of enrichment and elaboration. So it will be noted that in Germany the two-handed sword was influenced by the Maximilian feeling so prevalent
there.
The
elaboration of the quillons, the side rings,

all
and the addition of small counter-guards are

in
shown
that quaintly grotesque style that characterizes the short Landsknecht sword of the first half of the XVIth
century.
The Musde
d'Artillerie of Paris (J 61). presents

Fk;. 1338.
an admirable example of the German mid-XVIth century type; though for some unknown reason it is described in the official catalogue as being of Italian origin (Fig.
1330). ^-Jî
Two-handed sword
:
blade of this specimen, which pos.ses.ses its rSeymour Lucas, 1, ^ is of exceptionally fine workmanship, r,a. original grip and widens somewhat towards the point, and, as is often the case, has a waved cutting edge. The lugs on the blade, below the quillons
, ,
.
The
Collection
Probably English Mr. j.
are well developed, the space between them and the hilt being covered with leather. Etched upon the blade are various coats of arms, among others
273
Fig. 1339.
Two-HANUED sword
J 61,
Fig. 1340.
Two-handed .SWORD
German, of mid-XVIth
d'Artillerie, Pari.s
German, middle of the XVIth

century.
The
hilt is
Musê
century, the blade Italian

J 62,
d'Artillerie, Paris
Musee
one charged with fleurs-de-lis, which may have reference to the town of Munich; while a figure in the costume of about 1560-70 helps to date the
274

weapon.
(J
is
sword in the Musce d'Artillerie 62) (Fig. 1340) which is of about the same date likewise a good example; for, though it possesses
A second
German
a typical
hilt,
it
has associated with
it
lugless blade signed in its double groove "Antonio Picinino." The ricasso is etched and gilt. The grip of the hilt is the original one.
an Italian
In the latter part of the XVIth century, and in the commencement of the XVI Ith century, the
Swiss specialized
a certain
in this
cumbersome weapon, and

two-hander, coarse and
make
of the
heavy in workmanship, is readily recognizable as Swiss in provenance. Of this type we illustrate an example (Fig. 1341) formerly in the collection
of the
Due de Dino, now

of
in
the Metropolitan
Museum
New
York.
the story of that family
its
We
will
now resume
of curved swords which derived
form from
the East, and which may be considered as being reminiscent of the fashions of earlier centuries.
The wars between

resulted in close
if
the Venetians and the
not friendly
Turks intercourse and in
Fig. 1341.
Two-handed swoRU
OF THE OKDINAKY SwiSS TYPE

Late XVIth or early
^"-"y-
exchange of weapons. The Venetians employed as mercenaries Greek mounted troops, principally Albanians and
XVI Ith cen^"''"'"
^"JI^P^y^"*;^
Dalmatians, who were termed stradiots or estradiols; so the weapon employed by these legions a curved sword got to be known by the name of stradiot. Occasionally we find the name malchits
given to a short, curved sword of early XVIth century fashion, doubtless in remembrance of Malchus, who, as is recorded in the Gospels, had his right
ear
Fig. 1342.
cut
off
The practice ok the

DUSACK
by
St.
Peter,
presumably
Florio,
with an instrument of this kind.

in in
From
a copperplate engraving by Yost
"A
Worlde
Amman
(1539-1591)
1598,
of Woordes," published calls a short curved sword a
275
Fig. 1343.
Sabre
century.
North
XVIth
276

malcus, which may possibly be derived from vialcJuis. In France the short curved sword was known as the base. As in the case of all curved weapons
of the Orient, there was towards the close of the
centuries
it
little
actual fence
employed
in
their use.
But
XVIth and
the
commencement
of the
XVI Ith
may be noted that in the case of the curved Diisack, a weapon of Hungarian or Bohemian origin, adopted by the middle classes in Germany, the parries were similar to those practised with the back-sword. That is to say, they included countering blows across the adversary's line of attack
with the purpose either of breaking his guard and of striking him at one and the same time, or of throwing his weapon out of line so as to open
the
way
for
second attack.
print
by Yost
Amman
(1539-91) pre-
to represent served in tire Dresden Copperplate Cabinet, persons of the middle classes (Fig. 1342), shows the practice of the Diisack. Many very beautiful and historical swords of the XVIth century, having
113, and said
curved blades, exist to-day.
Of
these certainly one of the finest
is
that
magnificent example in the Vienna Armoury, complete with its scabbard a perfect achievement of Renaissance splendour. The quillons (Fig. 1343) of this weapon curve simply upwards and downwards; while the pommel
has that uneven outline tending to an excrescence on the side of the knuckleguard, as though ready to receive it. Recessed in the panels are fantastic figures; the quillons issue from monsters' heads. The blade is very slightly
curved and back-edged, decorated its entire length with duplicated strapwork introducing armorial trophies, which are also seen, though in a grander form, upon the ricasso. The finest chiselling, and the richest gold plating and damascening are employed upon the ornamentation of this splendid weapon. Although we are quite unable to name any particular armourer as the artificer of this sword, we regard it as North Italian work of about 1560-70. The late Monsieur de Beaumont, in his Fleitr cies belles Epês, claims that there is no specimen equal to it for the magnificence of its execution
and grand simplicity; but
our opinion, the very similar sword in the Musee d'Artillerie (J 112) is quite as superb, if it does not actually excel This sword was at one time in the it in dignified splendour (Fig. 1344). collection of the Vicomte de Courval, and though it is hardly in such a fine state of preservation as the Vienna example, it has the advantage of Marvellous possessing a grip of steel chiselled in harmony with the hilt. also is the undercutting of the strapwork that embellishes both pommel and
in
quillons.
IV
the counterpart of that of the Vienna sword, strongly back-edged and very slightly curved. As we have previously stated, had
The blade
is
277
00

sword not suffered from certain rust oxidizations, it would, in our opinion, have excelled even the Vienna sword as an example of the magnificence of the work of the late Renaissance. There are among the treasures of the Wallace Collection two fine curved swords of this same epoch, one of
this
Fig 1344.
Saijre
Fig. 1345.
Saure
North
XVIth
Probably German,
third quarter of the
century. J 112, Paris
Musce
d'Artillerie,
XVIth century
which (No. 193)
is
especially reminiscent of those
two we have just described
blackened though, generally speaking, of smaller proportions. The hilt is of iron with a flattened pear-shaped pommel, and quillons curving in opposite directions. Both the pommel and quillon ends are chiselled in high relief and pierced with crouching nude figures holding .scrolls on which rest ducal
278

On the block from which the quillons issue, and in the pommel, are and undercut figures of horsemen. The effect of the whole design is heightened by the addition of gold damascening. The blade, which is backedged, is slightly hollowed and curved, and has the cutting edge chamfered, and is russeted and damascened with interlaced scrollwork and a shield of arms in gold azzwiiua. This example may also be accepted as being of North
coronets.
chiselled
Italian
workmanship of about the
third quarter of the XVÎth century.
The
decoration of the other Wallace curved sword (No. 199) is in strict accordance with German Renaissance ornamentation; but its general form of construc-
more influenced by Oriental feeling, being reminiscent of the curved swords used as Polish cavalry weapons towards the close of ordinary the XVIth century. Sir Samuel Meyrick, in whose collection it was formerly^ considered it to be of Venetian workmanship; but after careful consideration and comparison, we ourselves feel convinced that it is of German origin (Fig. 1345). The hilt is of russeted iron, plated with gold and silver. The grip and pommel are in one piece, and entirely of iron, curving slightly and pierced at the top with a circular hole for a wrist strap. The whole surface of this part is chiselled in low relief with a German ornament of a pseudotion
is
really
Eastern character. The quillons curve and finish in satyrs' masks, issuing from an oblong block, on one side of which is an oval shell. Other decorations introduce the subject of Horatius Codes, under the protection of the
twins divine, Castor and Pollux, guarding the Tiber bridge against the attacking army of Por.sena. The blade is of scimitar fashion, and has Oriental
characters inlaid in gold. This sword retains its original scabbard of wood covered with green velvet and mounted with chape and locket mounts; on which in oval panels can be seen figures of Leda and the Swan, of Europa
and the Bull, and of Athene armed with spear and shield. A form of the curved sword in use in inid-XVIth century times, which is of a pattern different from those to which we have alluded, is to be seen
in the
Collection, bequeathed to the Bargello Like the weapon of which we have just made mention,
Ressman
Museum
it
of Florence.
is
but wholly
German
in
form and also
no way allied to any style of Italian given by Henri II of France to his

attribution
which Renaissance ornament.

in decoration,
entirely of steel, in this case is in

It is
the sword
jester,
Nicholas de Coville; of this
the quillons. The very finest aqua fortis etching embellishes both the hilt and the curved back-edged blade (Fig. 1346). The design on the blade represents a spirited
are fairly sure, for
Coville's
we
De
name appears on
camp scene
into which
is
introduced the story of Judith and Holofernes.
The
279

work has been
credited to several artists
and
to a
French provenance; but
in
our opinion it is wholly a German production. It is an interesting fact, worthy of record, that this sabre figures in the catalogue of the collection of
()
(/')
Fig. 1346.
Saure
II
Worn by
(a)
Nicholas de Coville, jester to the Court of Henri German, middle of the XVIth century
of France
The
hilt
and upper part of the
blade.
Ressman
Collection, Bargello
The lower part of the blade Museum, Florence

(/;)
a Monsieur Picard, which was sold in Paris in 1779, together with "Egyptian, Greek, Etruscan, Roman, Gaulish and Gothic Antiquities and other curiosities
of various kinds."
found on the half-sword half-rapier type, two examples with which we are acquainted are pre-eminent from the stand280
that class of hilt
Of
which
is
point of their superlative design; although others of simpler construction are to be seen in large numbers in all the more important public and private
In the case of this type the noteworthy features are the evenly balanced pommel and grip, the diagonally curved quillons, the pas-d'dne, connected by a counter bar with the left quillon. From the opposite fiascollections.
ifdne, issuing at a right angle and slightly upcurved, is a short bar. This guard formation, though in a modified degree, is fashioned on the inner side of the hilt. Of the two hilts of this type, we shall first illustrate and describe
the
more important, that on the superb sword-rapier preserved in the Imperial Armoury, Vienna, and known to have belonged to Archduke
Ferdinand
of
Tyrol
(Fig.
1347).
The whole
hilt
is
of
russeted
iron
and decorated with gold and silver azzimina. The combination of its style and period (about 1550-60), the former being slightly in advance of the latter, would lead us to imagine that it was produced under French influence but since the provenance of this sword is supposed to be the same as that of the harness illustrated in Fig. 1059, Vol. iii, which has been attributed to the hand of a mysterious Milanese armourer (the late Herr Wendelin Boeheim called him Giovanni Battista Serabaglio), we may assume that the hilt was made by the same armourer, or under his direction. The French influence is undoubtedly noticeable, especially in the case of the pommel, where, between oval sunken panels containing figure subjects, are broad dividing straps chiselled in a most wonderful manner in high relief and deeply undercut from the body of the pommel. On the grip is the figure of Fortune; while the ends of the quillon are formed as caryatids, placed back to back. The blade associated with this superb hilt, which is simply grooved and slender though very workmanlike, is damascened with gold on the ricasso, and would appear to be Milanese work, the mark of a well-known bladesmith of this city, whose name is unknown, being twice repeated upon Its original scabbard and carriage are still in existence. The second sword it. of this type to which we allude is now to be seen in the Baron Ferdinand Rothschild bequest to the British Museum (Fig. 1348). Baron Ferdinand acquired it from the Spitzer Collection, where it rightly held the place of honour among weapons of its own class. On this sword the same formation of hilt may be noted as appears on the last sword described, and we should not be surprised if it came from the same hand. The British Museum sword has less chiselling on its hilt than there is on that of the other weapon; but it is richer in the gold damascening, which the late M. de Beaumont likened to the work of
perfectly chiselled,
;
Damianus de Nerve, though he considered

281
the hilt a
German
production,

an attribution with which we can hardly agree. This may have been the reason why the mistake of giving it a Spanish origin was made in the catalogue of the Spitzer Collection; in the past such flat azsimina damascening was
Fig. 1347.
SwoKU-KAi'iEK UK
Duke Ferdinand ue Tvrol
The
hilt is
probably the work of an unknown Milanese armourer, middle of the XVIth century. Imperial Armoury, Vienna
mostly credited to Spain on account of the semi-Oriental influence which the Moorish occupation exercised on the art of that country. The blade of
though possibly not actually made for it, is a fine example of the work of Andreas Miinsten, whose signature appears in the central groove. 282
this hilt,

Andreas Miinsten was brother of the more famous Peter both of these bladesmiths worked at Solingen and later at Toledo. This sword was obtained some forty years ago in Castile, where the tradition of its having belonged
Fig. 1348.
Sword-rapier
North
Italian, middle of the XVIth century The Rothschild bequest, British Museum
to
Don
Philip of Austria
hilts,
was associated with
it.
Those simply proportioned
simple only from the paucity of their protective qualities, but ultra elaborate in respect to their enrichment, of which we find designs in the original drawings of Hans Holbein the younger, must have been works of
sword
283

art of exquisite beauty.
There
is
a sketch of a
hilt
of this kind in the
seems hardly possible that such wealth of enrichment could ever have been actually produced; certainly no such hilt is known to the author. In the circumstances we feel that this design and very many more of the same nature from the hands of Holbein, Aldegrever, Peter
Bale
It
Museum.
Fig. 1349.
Rai'iek
WITH A "swei't" HILT

J 96,
XVIth
century
Musê
d'Artillerie, Paris
Flotner, and other famous jewel designers are to be compared with those drawings of Leonardo da Vinci for open burgonet helmets, which only represent a great artist designer's metal schemes, and which were almost
impossible to execute, and, even if executed, impossible to wear. will now consider the "swept" hilted rapier as it appears in the third quarter of the XVIth century. A very representative example with a
We
284
Fig. 1350.
Rapier with
"
swept"
hilt,
and the dagger iselonging to
it
Probably French, third quarter of the XVIth century

J 129,
Musde
d'Artillerie, Paris
IV
285
PP

finely chiselled hilt, blued and gilded, is in the Musee d'Artillerie of Paris (J 96), to which collection it was given by General Eble who had obtained it
in
Naples (Fig. 1349).
It
may
be looked upon as Italian of about 1570 to
1580.
The
its
without
not the original one. dagger very closely resembling it, original blade, is in the collection of Mr. D. M. Currie and may
grip
is
was a constant practice to make companion rapiers and daggers. For example, the next rapier and dagger we mention (Fig. 1350), which are also
be
its
companion weapon
for
it
in the
Musee
d'Artillerie (J
129), are
companion weapons.
seen a triple be considered of French workmanship of the third quarter of the XVIth
century, and of the very greatest richness. The hilts of the rapier and
Here is to be barred rapier which may
dagger are of iron, gilded and then enamelled, with figure subjects and
strapwork
of
in translucent colours applied in cloisonnd. Both the hilts are
great
beauty,
and
the
weapons
are complete with their velvet scabbards, belts, carriage, etc., which have mounts of similar workmanship to
those found on the

tain restorations.
Fig. 1351.
dagger, has been subjected to cerhowever,
hilts.
The
These two wonder-
weapons were originally in the collection of the Vicomte de Courval, French, latter part of the Dino Collection, Metropolitan then successively in those of DeMuseum, New York bruge-Demdnil, of Soltikoff, and of Napoleon III, finally reaching the Mustê d'Artillerie, a pedigree which reminds us of the splendid rapier now in the Dino Collection, Metroto the Vicomte politan Museum of New York, which, too, formerly belonged
Rapiek with
"
swept" hilt XVIth century
ful
This rapier hilt may, without doubt, be considered of French workmanship. About 1834 it belonged to a lawyer in Rome; at any rate it was sold by him to the Vicomte de Courval for 700 francs. 286
de Courval (Fig. 1351).

probable that this lawyer sold the rapier, together with the associated dagger which we have referred to, on behalf of some great family of
It is
Rome.
It
had the tradition when
in
the Courval
belonged to Felice Peretti, afterwards Pope Sixtus V (1585 to 1590). It bears the escutcheon of the famous Roman family of Albani argent on
Collection of having
Fig. 1352.
German,
latter part
"Swept" HiLTED RAPIER of the XVIth century. Possibly
the work of
Othmar Wetter of Munich. Royal Museum, Dresden
Historical
a band
of the
or,
a star in the chief, three mountains rising to a point. At the sale Courval Collection in i860, it was bought for 3,750 francs by
M. Beurdeley, who immediately sold it to M. de Saint-Seine for 4,500 francs. Upon the death of M. de Saint-Seine, M. Sommier paid 34,500 francs for
an auction. He exhibited it at the famous Exposition rdtrospective held at the Trocadero in 1878. The hilt is very simple in form and perfect 287
it
at

and proportion, and belongs to the type seen upon almost all the townswords worn during the latter part of the XVIth and the first quarter of the XVI Ith centuries. This type underwent slight modifications according to the period and country of origin; but all those swords which we shall class as town-swords possess approximately the same general constructional form. This weapon is as remarkable for the richness of its decoration, the perfection of its workmanship, and the taste and restraint of its ornamentaRicher and more ornamented swords are tion, as for its supreme elegance. in existence; but we know of none more attractive or more delicate in the method of its enrichment. The whole decoration consists of gold and silver designs incrusted and chiselled in relief on a stippled black ground. The
in line
hexagonal; the incrustations are divided into six compartments, presenting, alternately, trophies of arms, escutcheons amongst which are to be found that of the Albani family, and arabesques intermingled with animals. The iron grip, the quillons, and the counter-guards are all decorated with
pommel
is
similar subjects. The blade has a long groove extending right up to the It is point, and the ricasso is decorated in the same manner as the hilt.
interesting here to note that a fine wheel-lock pistol in the Wallace Collection (No. 808) has a russeted iron stock incrusted with gold and silver work which
by the same hand that decorated the hilt of this rapier. French type, which strengthens our belief in its French provenance. Mr. Edward H. Litchfield of New York has also two pistols .from the same workshop; while in the Royal Collection at Windsor is a partisan head, which is undoubtedly the work of the same armourer (No. 38
was
certainly applied It is assuredly of the
in the 191 4 catalogue, Fig. 1416).
A
hilt, is
German made
to be seen
hilt,
constructed on the lines of the Courval sword
on that superbly mounted rapier preserved in the Royal Historical Museum, Dresden (Fig. 1352). Unlike so many of the magnificent arms at Dresden, it is not stated to have belonged in the past to any royal or noble personage, but from the almost exact resemblance which the work upon the hilt bears to that on a set of hunting implements, given by the Duke Albrecht of Bavaria to the Kurfiirst Johann Georg II in the early years of the XVIth century, it is almost safe to conclude that this rapier formed part of the same gift. The author knows of no rapier hilt with this comparatively late class of chiselling to compare with this example for .its refinefor its perfect condition. The foundation of the hilt is iron, chiselled with groups of fruit and flowers, together with masks
ment of workmanship and
and festoons of drapery,
at intervals introducing panels
containing figures
288

of Venus, Ceres, and
brilliantly blued,
Pomona.
while the
The exposed iron surfaces groundwork of the design is
of the
thickly
hilt are
plated
with gold. The work upon this hilt is reminiscent of the craftsmanship of Daniel Sadeler, but perhaps it is a little freer in treatment, which inclines us to think it might be the production of some South German, probably
Fig. 1353.
Sword hilt
This gold, jewelled, and enamelled hilt, known as the Ept'e de Religion, was presented by Pope Pius IV to Jean Parisot de la Valette, Grand Master of the Order of St. John of Jerusalem in 1 566. Probably of German (Saxon) workmanship. Bibliotheque Nationale, Paris
Dare we suggest the name of Othmar Wetter The grip and hilt are the original ones, while as the possible artist? the blade is a representative example of the work of Pedro Hernandez of
Munich
artist craftsman.
Toledo.
It
all its
well be imagined that, in an age in which the goldsmith's art in branches was at its zenith, the medium of gold aided by enamelled and
may
289

jewelled enrichments was made use of by the artist in the manufacture of sword and rapier hilts. Often
time the great nobles can be seen wearing sword and dagger hilts made of gold, and jewelled. But although gold is a glorious
in the portraiture of the
which to express magnificence, it must be remembered that its very softness renders it an eminently unsuitable metal for the manufacture of an intricate hilt. There is preserved in the Bibliotheque Nationale of Paris the sword known as the Epde de Religion (Fig. 1353), presented by Pope Pius IV to Jean Parisot de la Valette, (irand Master of the Order
in
medium
of St.
of
John of Jerusalem,
after his successful defence
Malta against the
fleet of
Soliman
II in 1565.
The
spheroidal pommel, the grip, the straight quillons, the \zx<gt pas-d' dne, and the single ring-guard are of pure gold, confusingly enriched with strapflattened
work, introducing medallion heads of the Emperor Titus and the Empress-mother Faustina, enamelled in
brilliant translucent
and opaque
colours,
and studded
with precious stones.

that
condemnation
are obliged to acquiesce in of the general clumsiness of form

its
We
of the hilt of this sword, and of of ornament which has led to
over-elaboration
the
theory
of
its
German make:
vanni
for
it
is
and ornamentation. Angelo

to
On
essentially German in form the same occasion that Gio-
Medici,
Pope Pius
presented
it;
IV,
gave the
the
in
is
La Valette, he dagger made en suite with

sword
the
him with
(Fig.
this
dagger
now
Galerie
d'Apollon
of the Louvre
1354).
Fig. 1354. Dagger The dagger en suite with the
Both sword and dagger were formerly preserved in the Treasury of the Cathedral of St. John, Valetta, Malta; but were removed thence (1798) by Napoleon I to France. Although the sword is stfll in pristine
condition, it will be found that the soft gold hilt of the dagger is much rubbed, owing to the historic fact
that
it
Epê de Religion,
in Fig. 1353.
illustrated
Musê du
Louvre
effects
by Napoleon among his personal when campaigning. He bequeathed the dagger 290
carried
was
O O
<
o
u M o < <
u c
X o u X D H Q O < X u o o !3 c < Q
t/;
X
V
q"
2 o < o
V ~ O u
y,
291
to his son, the of Cassel. In the
EUROPEAN ARMOUR AND ARMS King of Rome. A counterpart of the dagger

Munich Stadebras
is in
the
Museum
Mielich or Miilich (1515-72) which
are to be seen drawings by Hans represent the sword and two daggers
^^^^^j^^gîONiiiiliX^
Fig. 1356.
Rapier
iiilt^
Known
as that of Charles
as
it is
of Spain, to whom it could not have belonged, of the third quarter of the XVIth century. Italian
under discussion so it was probably this versatile artist, painter, and metal worker who was responsible both for the conception and for the execution of the hilts of these weapons. The collection of the late Herr Hefner292
;
Fig. 1357.
Rapier hilt, gold plated and jewelled Probably German, third quarter of the XVIth century
Royal Armoury, Dresden
IV
293
Qy

Alteneck included some original drawings by Hans Mielich, doubtless part of the Munich Standebras series to which we have referred, representing the more famous objects of art in the treasury of Albrecht V, Duke of Bavaria,
among which was
a set of three plates showing respectively a gold and enamelled sword hilt, a dagger hilt similarly enriched, and designs for the
"^Mtm^
'^-<1
Chain-pattern rapier hilt Probably French, third quarter of the XVIth century
Fig. 135S.
Collection: Mr. D.
M. Currie
and dagger of La Valette; but they represented hilts of sounder construction and are conceived in better taste (Fig. 1355). Far more beautiful and more elaborate in construction, owing to the addition of a knuckle-guard, is that most wonderful gold and enamelled hilt on the rapier in the Imperial Armoury of Vienna, which is always known as that of Charles V (Fig. 1356); though,
mounts of a sword
belt.
The two former
called to
mind
the sword
hilt
294

very formation, it can never have been the property of that monarch, In the decoration of this as in our opinion it belongs to a later period.
from
its
goldsmith and jeweller of the third quarter of the XVIth century can be seen at its very finest. The pommel is pear-shaped and ridged. The ends of the quillons, the knuckle-guard, and the centres of the rings contain heads of cherubim, exquisitely modelled in full relief;
hilt the
work of the
Italian
Fig. 1359.
Chain-pattern RAPIER HILT

:
Possibly the work of Claude Savigny of Tours (1578-95) Collection Baron de Cosson
while arrangements of leafage, swags of fruit and flowers, and monsters' heads occupy the remainder of the hilt, all chased and enamelled with the wonderful finish which is associated with the Italian goldsmith's art of the later Renaissance. As a town-sword, or dpde de parade, the author
considers this sumptuous weapon to be the finest in existence. The blade, which is the work of Antonio Picinino, is severely plain and simply of the Alte Residenz at Munich there is a grooved. In the Schatzkammer
295

rapier with a hilt of solid gold, superbly chased and enamelled of Nuremberg in 157 1. The author has not had the opportunity of
it;
by Reesin examining
but he has been informed on the highest authority that it is a beautiful example of German goldsmith work, and he regrets that he has been unable even to obtain a photograph of it. All forms of enrichment were
employed upon town-sword or
the
hilts
of
the
rapier,
chiselling,
damascening, both aszimina and plating with gold and silver. In
Royal Armoury of Dresden there is an example of gold plating

the
upon a
steel
hilt
of
the
third
quarter of the XVIth century that nothing could exceed in splen-
dour
but
(Fig.
1357);
not
only
in
is
the hilt bold and solid
make,
are
further, it is enriched with settings of precious

it,
minute worked into

stones.
figure
subjects
and
Toledo But not only were jewels employed in decoration: varieties of applied ornaments were also often resorted to. Thus we have the chain pattern sometimes chisit
To
is fitted
a fine
blade.
elled out of the metal of the hilt

itself (Fig.
Fig. 1360.
1358),
and sometimes
chain
Chain-pattern rapier hilt

Tours (1578-95)
formed
of
small silver
Possibly the work of Claude Savigny of

J 135,
Musee
d'Artillerie, Paris
actually applied, as in the case of the specimens illustrated (Figs. 1359 and 1360), the one in the
Baron de Cosson, the other in the Musde d'Artillerie of Paris (J 135). It may safely be assumed that most of these chain-pattern hilts are of French origin; for there was a maker at Tours, one Claude Savigny (1578-95), who was noted for designing and executing hilts of this design. We are certainly inclined to consider the two last-mentioned hilts as his work; for while one is slightly the richer in elaborate figure subcollection of the
jects,
both are very similar.
Although 296
it
is
of different formation,
yet,
Fig.
Chiselled steel hilt of the sword reputed to have belonged TO John Hampden The hilt is of French workmanship of the third quarter of the XVIth century
1
361.
Collection:
H.M. the King, Windsor Castle
297

since
it is
apparently of French workmanship,
we
will next allude to a
most
beautiful
Royal Armoury of Windsor (No. 65 This weapon, by far the finest in the Royal Armin the 1904 catalogue). oury in point of design and workmanship, has always been reputed to come from the hand of Benvenuto Cellini, and as such is illustrated in Plon's work on that master. Splendid, however, as is the quality of the chiselling, and excellent as is the design, this attribution cannot for one moment be sustained. The Windsor sword in no way resembles the 'often overcharged later works of Cellini. In the fashion and decoration of the hilt, which, at the earliest, cannot be placed before 1570, the year before Cellini's death, it shows none of the characteristics which his work at this stage of his career displayed, the stage in which he transgressed the limits of true taste by indulging in an over-abundance of caryatids, of strapwork, and a general exuberance of adornment. The pommel is of flattened pear-shaped form, the
sword
(Fig.
1361) in the
grip
cylindrical, swelling in the centre, the quillons are slightly curved, a ring-guard is attached to the end of the pas-d'dne. The whole hilt is finely
is
chiselled
with subjects chosen from the life of David his slaying the lion, his cutting off the head of Goliath, his coronation as King of Israel. The quillons terminate in the figures of Fame and of Time. Other
in
low
relief
portions of the hilt are chiselled to depict satyrs, nude figures, herms, and foliage of minute and exquisite design; some details of the figures, such as
damascened with gold. The blade is of flattened diamond section, stamped on the ricasso with the Solingen bladesmith's mark, a unicorn's head the mark of Clemens Horn. The scabbard, of which there is a record in the Carlton House Inventory, is now unfortunately lost; it was of black leather, with a ferrule mount of steel, embossed and chased with figures. This sword was presented to George III in 1807 by Mr. Walsh Porter
their armour, are
as having belonged
It
is
English patriot, John Hampden. weapon may have been his property; for, during his early years, Hampden is said to have lived the fashionable life of men of large fortune of the time. He was born in 1594, so it would be about the year 1612, seven years before his marriage, that "he consorted with men of fashion," and probably acquired and wore the weapon in question. It must, however, soon have been laid aside; for about 1620 Hampden adopted the religious principles and severe habits of the Puritans, and became noted for "an extraordinary sobriety and strictness," with which the wearing of such an enriched weapon would have been out of all keeping. We have ventured to suggest a French nationality for this fine
quite
to the
illustrious
possible that
the
298

hilt,
not alone on account of
its style,
but also on the more material evidence
of a second rapier in existence in the collection of Major M. Dreger of Berlin. For though the hilt of this latter weapon is different in formation, its enrich-
ment
is
precisely similar in style to that of the

is
Hampden
rapier;
and while
the ornamentation
scheme perhaps it is most certainly the work of the same hand. This Berlin rapier has reputed French royal provenance (Fig. 1362).
in its general
of smaller proportions,
The
influepce that the national char-
one sort of hilt exercised over those of another nation makes it very
acteristics of
difficult
to
give to a specific group a

its
own. The types of Italy and France were intermixed; those of England we will endeavour to treat of as they occur. The artists and craftsmen
country of
some nations amalgamated nearly all styles, and it is only in Spain and in the
of
Countries that distinctive types of hilts appear of which it can, with a fair amount " of certainty, be said " That is Spanish
"
That
is
countries, let shows a greater diversity of form. have alluded in a previous chapter to
Flemish." Of these two us first take Spain, for it
We
the
p.
Hispano-Moorish swords (vol. ii, 281); now we have to deal with that
hilt familiar to
strange type of portraits of the

of his
us in the
Chiselled STEEL HILT French, last quarter of the XVIth century. The quillons are bent. Collection: Major M. Dreger, Berlin
Fig. 1362.
Emperor Charles V, and successor. By this we mean a
simple quilloned weapon, with a short,
solid grip of metal, illustrated for example by that fine specimen in the Wallace Collection (Fig. 1363). This represents admirably the kind of hilt to which we refer. Viewed from a
modern standpoint such a sword appears most uncomfortably hilted, overbladed, and badly balanced yet from its constant representation in contemporary Spanish portraits it must undoubtedly have been the town-sword of the nobility of that country. The sword in the Wallace Collection has
;
299

a vase-shaped pommel and a pilaster-shaped grip; the quillons, which are of oval section, are diagonally curved and terminate in heads like that of the pommel. The whole hilt is decorated with a spirited design
of small vases, leafwork, and interlaced scrolls damascened in gold. The blade is unusual, and has on either cutting edge a waved appearance, lent to it by both edges being chamfered in semicircles, the chamfering being
placed alternately on either side.
The
portrait of Philip II
by Titian
in
Fig. 1363.
Sword
Spanish, middle of the
XVIth century. Wallace Collection (Laking Catalogue, No. 671)
shows the King girt with such a hilted sword; the period in which this style of hilt was fashionable was the third quarter of the XVIth century. Other sword hilts of this same type are to be seen in the Royal Armoury, Madrid. Another form of purely Spanish
the Prado,
Madrid
(Fig. 1364)
hilt,
this time of the
complicated rapier type,
is
also to be seen in the
same armoury (Fig. 1365). Here the pommel is fluted and cone-shaped, and the ends of the quillons and counter-guards have a similar decoration. The hilt in this instance has been made for the fine broad blade
300
Fig. 1364.
Portrait ov Philip
II i!V
Titian
The
Prado, Madrid
IV
301
]<

a blade fashioned by Lopez Aguado, and dated on the ricasso 1567, a circumstance that helps to establish fairly accurately the earlier period to which this style of hilt generally belongs. An intermediary
to
which
it is
now
fitted,
form of such a
hilt
Collection, but large series of hilts of a family more frequently met with, and all Spanish in their origin. The de Cosson sword (Fig. 1366) still shows the fluted cone;
may now in
be seen upon a sword formerly in the Londesborough that of the Baron de Cosson it forms a link in a
FiG. 1365.
Sword hilt
XVIth
54,
is
Fig.
366.
Sword hilt
XVIth
Spanish, third quarter of the

century.
Spanish, third quarter of the
The blade
by Lopez
Collection
:
Aguado, and is dated 1567. G Royal Armoury, Madrid
century
Baron de Cosson
shaped pommel; but the swept hilt is more developed, and the various bars are fluted to correspond in decoration, while the whole hilt has been plated with silver. The blade is remarkable, and it was certainly made for the hilt. The ricasso bears an armourer's mark, and the words Valencia me fecit, inscribed in the long narrow groove that runs almost to the point on either But over the armourer's mark a circular device has been side of the blade. engraved; on one side of the ricasso with the arms of F'erdinand and Isabella of Spain, and on the other with their badges, yiigo yflechas, the yoke and sheaf
302
THE SWORD AND RAPIER OF THE XVIm CENTURY

of arrows.
The
engravins.,^ is
of
tlio
same epoch
as
the blade, and has the appearance of having been copied from the silver coinage of these monarchs,
a framing of small circles reproducing the dotted framing of the coins.
repeated alternately four times on either side of the blade, and in the initials between them is what appears to
The same devices, arms, and badges are
be an inscription in
signs
unknown
characters.
These
were no doubt meant to represent Arabic characters, to which they bear a rough resemblance, doubtless with the intention of suggesting that the blade had played a part in the wars of Ferdinand and Isabella against the Moors, and that it was a blade captured from some Arab chief. Foreign blades of the third quarter of the XVÎth century with forged inscriptions like those met with England, are not uncommon (see vol. ii, p. 293). There is a blade of exactly the same character among the swords bequeathed to the Cluny Museum by the late Monsieur E. de Beaumont, two others very similar in the Royal Armoury of Madrid, and others in public and private collections which the author visited.
in
next proceed to illustrate the family of hilts of which the de Cosson sword is the imwill
We
mediate forerunner. In these the pommel is generally cruciform in section, and the broad knuckleguards are pierced in the same way; but the quality
of the
workmanship
is
varies.
fine
sword of
this
type (Fig. 1367)
to be seen in the
Royal Arm-
oury, Windsor (No. 43 in the 1904 catalogue). It was presented to King George III by Lord Fife on
17th
May
18 1 3.
The
hilt
is
characteristic of this
.Spanish fashion, and must date from the third Fig. 1367. Sword AND SCABBARD
Spanish, third quarter of the XVIth century Collection: H.M. the King, Windsor Castle
Fig. 1367

quarter of the
XVIth
is
century.
The
blade
;
now
in the hilt is
dated 1634.
The mounting
the pommel, which is flat and of of brightened steel inverted shield-shaped form, is pierced with various ornaments; the quillons, which are broad and flat, are also pierced at the ends; there is a single
bar-guard covering the knuckles, and a bar projecting at right angles from the base of the \t{\. pas-d'dne\ all are decorated with piercing to match the pommel. The grip, made of wood and covered with embossed silver, has been added more recently. The blade has a deep ricasso and a single groove, stamped with a name now illegible, and etched with the following Latin
inscriptions:
It should read: OVID QVID AGAS QVIT QVIR AGAS PRVDENTER AGAS. PRVDENTER A(;as. Translated "Whatever thou doest, do with foresight." VNFORTVS armatvs defendit trinivm svvm. Translated: "A man
:
strongly armed keepeth his palace" (St. Luke, xi, 21). It is impossible to reconstruct the correct text, as unfortus is no Latin word. No doubt it for ris armatvs. ought to read
:
FT SVRXE DOMINE A ADATIVVAME IN TENEB ANI.M .MEA. It should read: ET svRRExrr DOMixvs FT ADjvvAVFr IN TENEKRis ANiMAM MEAM. Translated: "And the Lord arose and helped my soul in the darkness." ESTI MVLVS AVTI:N MORTIS PECATVM EST VIRTVS VERO PECATI LEX. virtus vero It ought to read: stimvlvs avtem mortis peccatvm est: PECCATi LEX. Translated: "The sting of death is sin, and the strength of sin is the law" (i Corinthians, xv, 56). ANO D. F. CFIZFXTO TREINTA OVATRO. {i.e., 1634.) opvs LAVUATARTiFicFM. It ought to read: opvs lavdat artificem. Translated: "The work praises the artist." IN TE DOMINE ESPERABIT NON.GONFVDAR IN ETERX\ .M IX JVSTICIA TUA LIBERA ME. It ought to read: in te domine speravi non confvndar in eternvm: in jvstitia tva libera me. Translated: "I have hoped in
Thee,
Lord.
this
Let
me
i).
not be eternally confounded: in
Thy
justice
make
me
free" (Psalm xxxi,
sword a scabbard, that appears to be of Scottish origin, was fitted early in the XVIIIth century, at which time some four inches must have been cut from the original length of the blade, no doubt to make it conform to the length of the basket-hilted swords worn with the Scottish
To
Highland costume. We can mention other swords of Spanish origin which have hilts similar to this. Such are to be found in the Royal Armoury of Madrid (Fig. 1368), 304

armoury of Lord Hastings, in the armoury of the Lady Zouche, and in that of Baron de Cosson (Lig. 1369). As a good example of exuberant decoration applied to a sword hilt in somewhat decadent French taste of the close of the X\Tth century, a
in the
decoration beautiful in
individual parts, but in this case confusing from its very elaboration, we illustrate that sword (Fig. 1370) in the Musdc d'Artillerie of Paris (J 97) which forms part of the panoply to which belong the helmet and the shield described ante, page 189 (Fig. 1266). Before.
its
Fig.
368.
Sword hilt
Fig. 1369.
Sword
Spanish, third quarter of the XVIth cenThe blade is by Sebastian tury.
G
it
Fernandez of Toledo 55, Royal Armoury, Madrid
Spanish, third quarter of the XVIth century

Collection: Baron de
Cosson
present resting-place the set of these three pieces were to be seen in the Bibliotheque Nationale. The sword hilt, which was at one time attributed to Henri H, is a very triumph of the chiseller's art; but the
found
its
traces of the decadent influence of the third quarter of the XVIth century are very apparent. Figures of amorini bestride the pommel, the knuckle-
guard quillon finishes
trophy of classical armour, and the other downcurved quillon terminates in a Fontainebleauesque head. Snakes, terminal of the guard. The blade now in the figures, and monsters constitute the rest So poorly balanced in hilt is inscribed Tomas Aiala\ the grip is modern.
in a
305

the hand the weapon, that although the ricasso of the blade fits the hilt admirably, we may almost certainly conclude that this particular blade was
is
Fig. 1370.
Sword HILT
J 97,
French, end of the
XVIth
century.
Musee
d'Artillerie, Paris
Another wonderful specimen of the chiseller's art can be seen on the swept hilt of the sword in the Musê d'Artillerie (Fig. 137 1), which was presented by Ippolito Aldobrandini, Pope Clement VIII, to Henri IV of 306
never
for
it.
made

France
in 1599,
its
becoming
on the occasion of his marriage with Marie de Medicis. As donor, the subjects chiselled upon the hilt are all of a religious
Fig.
Italian, late
37 1.
Chiselled steel rapier hilt

Presented to Henri
XVIth
century.
IV
of France
by
Pope Clement VIII on the occasion of his marriage with Marie de Medicis. J 379, Musee
d'Artillerie, Paris
character, introducing the Annunciation, the Nativity, the Adoration of the Magi, and finally on the pommel the Circumcision. In the lowest ring of the
guard
is
a small shell on which
is
a portrait of Henri IV, and the date 1599.
307
Fig. 1372.
Italian, late
Sword MILT AND
ciiArE
XVIth
century. This sword belonged to Ambrogio Spinola of Genoa. Collection: Mr. S. J. VVhawell
308
Fig. 1373.
Reverse view of the Spinola sword hilt
IV
309
s s

surround the figure subjects. The Inscriptions formerly incrusted in gold minuteness of the work employed upon this hilt merits close scrutiny; and this despite the fact that the design seems stunted and the workmanship appears restricted in execution, denoting the late period of its production. From
the fact that the sword
was a
gift
from
the Pope, it must be supposed that Italy was the country of its production, though
strangely German in its style. blade is a fine example of the

it is
The
work
of Peter Munsten, of whose work other blades are preserved at Stockholm and
Copenhagen, which bear the surprising

fecit London. The author expresses his surprise because the only other records of the work of Peter or Andreas, his
inscription,
Peter Munsten
me
brother, bear
the inscriptions
"
"
Solin-
gen," and later
Toledo."
This sword came from the collection of the Baron Percy, one of Napoleon's army doctors. Baron Percy's Collection was sold in 1830, and the catalogue
says that according to a memorandum left by Baron Percy, the sword was given
to
him
age."
Vienna by an "august personThis "august personage" was

at
doubtless
the
Emperor Francis
of
Fig.
374.
Sword hilt
1560
J.
Italian, Milanese,
Austria; so we may fairly surmise that the sword was formerly in the Imperial sword very Armoury of Vienna.
Collection: Mr. S.
Whawell
similar to this, but more beautiful, is to be seen in the collection of Mr. S. J.
Whawell
X
(Fig.
1372).
It,
too,
is
has Jiistorical
associations;
:
for
upon the
knuckle-guard (Fig. 1373)

X
the following inscription
ambr
x spinola x
EXERC iMPER (Ambrogio Spinola commander-in-chief of the army). Ambrogio. Marquis of Spinola, one of the greatest captains of his day, was born in 1571. Reserved under Philip III and IV of Spain, and was received
310

much honour by Henri IV of France. He fought in the Low Countries with great success, and was named commander-in-chief by Isabella, the widow of the Archduke Albert and Regent of the Low Countries. .Spinola, who
with
died in 163O;
picture
was the conqueror of Breda, and is portrayed in the famous by Velasquez, called Las Lanzas, where he is depicted wearing this
F"iG. 1375.
Rapier
French,
Fig. 1376.
illustrated
Dagger
Incriisted
with plaques of mother-of-pearl.
Belonging to the sword

in Fig. 1375.
end of the XVIth century. Presented to Henri IV of France by the town of Paris on the occasion of his marriage with Marie de M^dicis in 1 599.
J 380,
Wallace Collection
(Laking Catalogue, No. 669)
Musee
d'Artillerie, Paris
very sword.
are
On
the
pommel on each
side
is
inscribed a signatiu-e, m.
i.
f.
numerous There groups, and on each
inscriptions over or under the beautifully chiselled face of the ricasso is the bladesmith's punch mark. The chape also bears an inscription. There is no gilding of any kind on the sword. The blue-black steel is superb, and the condition of the whole piece is marvellous.
3"

Before quitting the subject of the Spanish sword this account would not be complete unless the fine sword made by Daniele da Serravalle at the castle of Milan in 1560 for Philip II of Spain were described. The fat ta daniel ricasso bears the gold damascened inscription: je + sus
. . . .
DE SERAVALE NELCHA STELO

Serravalle
is
IN
MILANO CVA
in
MATE CTA REGIN
I560.
supposed
to
have died
1565, and no doubt came from
Serravalle near Venice, a place renowned for swordsmiths. The only other sword known to be by him is at Dresden; it bears his signature. The workmanship of this sword, now in the collection of Mr. S. J. Whawell
(Fig.
1374),
is
of the finest.
is
The
precision of the
steel,
granulations
is
very
wonderful. blade
is
The guard
of blackened
and on the inside
face of the
a heraldic shield.
There is another rapier in the Musee d'Artillerie (J 380) which was also given to Henri IV of France on the occasion of his marriage (Fig. 1375). The workmanship of this most gorgeous weapon is doubtless French, and probably Parisian; for the sword was a gift from the city of Paris. A townsword in the strictest sense of the word, it is remarkable for the fact that plaques of mother-of-pearl, a strange and most unsuitable medium of enrichment, not only decorate the hilt, but are actually inlaid in the blade. surface of the metal is russeted and profusely inlaid with ciphers, arms, and inscriptions. As, however, our own Wallace Collection (No. 669)
The
possesses the dagger belonging to this sword, we will limit ourselves to a description of the latter, for both rapier and dagger are exactly similar in
1376) is made entirely of russeted steel, the whole decorated with gold azziniina damascening, the principal theme of the design being branches of palm, the double (Henri) many
their enrichments.
hilt (Fig.
The dagger
times repeated, the double (Marie), the collar and order of the SaintEsprit; there is also the following inscription on the quillons and ring:
ACET HENRYS VAINQVEVR DE PARTENT DE BONHEVR ORDINAIR AVX MERVEILLES LA ASTRE PLVS FIDELES.
The
blade has a flattened ridge running the whole length on either face. It is decorated with gold azzimina damascening. There is a large crowned on the strong ricasso while victoria regis is inscribed on the double
reverse side.
Down
the front of the blade are
palm
leaves,
and the following
astrological inscription:
312

JUPITER ET VENUS SONT d'hEUREUSE INFLUENCE, SATURN AVEC MARS TRtS MALIGNS PERVEJtS
MERCUKE ET (le) SOLEIL ET LA LUNE EN PUISSANCE MEDIOCRE, EN LEUk TOURS GOUVERNENT l'uNIVERS.
further enriched with oval plaques of mother-of-pearl, which are set in the hilt and down the face of the blade. The plaques in the pommel have engraved on them the following
The
dagger, like the rapier,
is
inscription:
JE RESTE A LA FORCE
PRVDENCE MESVRE LA DE TOVTE CHOSE

.
. .
The
other mother-of-pearl plaques bear the letter H., the arms of Navarre, and the fleur-de-lis. The dagger is dated 1598. The inscriptions on the
rapier in the Musde d'Artillerie are in French and in Latin; they describe the principal victories of the King before and after his ascension to the
throne.
We
in
next
come
to those late
XVIth
century swords which are
German
provenance, and the enrichment of which is ascribed to Dresden craftsmen; their hilts are constructed on practically the same lines which those of
the swords of the earlier part of the XVIth century follow. They form almost a family apart, and are to be seen in most of the arsenals of Germany
and of the national

actual
make, but
collections of Europe, varying considerably in their nearly all fashioned in the same way. Some excellent
examples are
tion (Fig. are to be seen in the
Wallace Collection, but we prefer to select as our illustra1377) that of the fine example with its accompanying dagger which
in the
Musde
d'Artillerie of Paris (J 189).
The pommel
is
octagonal and pear-shaped, the quillons are long and
straight, swelling to
terminations of similar form, but smaller than those of the pommel; each has double ring-guards and a pas-d'dne. In the example we choose, the whole
as well as the upper portion of the blade, is deeply etched with musical trophies, etc., in the manner of the popular Saxon school. The weapon is a fine
hilt,
fighting sword, and of a form that leads by an easy transition to that of a family of swords or rapiers that again occupies quite a position by itself. have
We
alluded to the hilts of those weapons which were used in fighting on the principle of the rapier, and which, through the complication of their guards, lent such scope to the designer of the day. But throughout the XVIth
century
we
find that the
sword
in
able for cutting or thrusting.
use was the one which was equally serviceThis was, indeed, the sword of the soldiery;
313

but
a large extent, the sword of the upper classes. Though they have the same proportions as those of Landsknecht swords, of which we have spoken (vol. ii, pp. 298, et segq.), these weapons, with which we are
it
was
also, to
Fig. -1377.
Sword
German (Saxon), end of the XVIth century J 189, Musee d'Artillerie, Paris
about to deal, only follow a glorified type of the cruciform hilted sword of an earlier era. Some are grand in the splendid proportions of their hilts. This family of swords, as a rule, have swept hilt guards of large and robust proportions, and often short and somewhat heavy blades, the fighting use of which
314

must have been very similar
combination with the buckler.
to that of the back-edged sword employed in Many of these swords are said to be of English
make, and very possibly they may be; for though their enrichment is fundamentally that of the late XVIth century Italian school, it is carried out in a heavy style, which is not displeasing, and which lends to them a certain rugged and workmanlike appearance. In the Royal Armoury at Windsor are three swords that admirably illustrate the form of decoration to which we refer. Of these, the sword that is reputed to have been worn by King James I of
probably the most representative (Fig. 1378). The hilt might belong to the closing years of the XVIth century; but the very fine blade associated with it, a blade made by Clemens Horn of Solingen, bears the
England
is
date 161 7. shape, and
The pommel
is
of this
King James
sword
is
of inverted pear-
hollow, and constructed of five spiral scrolls a Jour. The knuckle-guard is flat, swelling in the centre, where it is pierced with a diamond-shaped aperture. The quillons are short and flat, with ribbon
pattern ends; from ill-treatment they are now possibly more incurved than as originally made. The single bar is constructed on the same principle, and the shell is framed in similar ribbon-pattern bands. The decoration of the hilt consists of trophies of arms, festoons, and bouquets of flowers and fruit, boldly engraved, and gilt upon a russeted groundwork. The whole of this
ornamentation
of the bars
is
bordered by a beading incrusted entirely gilt, and punched with small

is
in silver.
circles.
its
The under side The grip of wood
original binding of silver wire. The sword has of black leather, with an enriched ferrule mount.
has
its
original scabbard
not our intention to enter into a lengthy description of the technical skill of the bladesmiths whose blades are in the hilts we illustrate, or to
It is
discuss the historical associations of the blades themselves; that is a task which the author must leave to others. But so associated with these
types of English hilts are the blades made by Clemens Horn, and such a remarkable example of his craftsmanship is that in the sword under
feeling that in describing this specimen we shall practically be covering the whole field of this famous blademaker's work. The blade in this hilt has a strongly chamfered cutting edge; the
discussion, that
we cannot help
blued, etched, and gilt with lengthy but broken Latin inscriptions, due to the introduction of small panels of various ornaments, griffins, stags, On the ricasso is stamped twice the lions, hearts, and minute scrollwork.
surface
is
unicorn head, the mark of Clemens Horn. Neither the date of Horn's birth nor that of his death is known; but, judged by his dated blades, he must
315
Fig. 1378.
Sword
The
hilt,
Fig. 1379.
Sword
is
The hilt
the
first
is
is
probably English, and made during
years of the
XVI Ith
probably English,
of the closing
century.
The
years of the
is
blade
The sword
by Clemens Horn and is dated 161 7. is said to have belonged to I. Collection: H.M. the James King, Windsor Castle
by H.M. the King, Windsor

Castle
century. The blade Clemens Horn. Collection

:
XVIth
316

have worked from about 1580 to 1630. The second (Fig. 1379) of the Windsor swords which, too, is furnished with a blade made by Clemens Horn, though in this case it is back-edged is No. 61 in the 1904 Catalogue.
The
hilt of this
the solid
weapon follows the type more usually met with, a pommel, large and spheroidal, and with diagonally curved
hilt
with
quillons;
Fig. 1380.
Sword
The
hilt is
probably of English workmanship, and of the closing years of the XVIth century. Collection: H.M. the
King, Windsor Castle
presents the rare feature of the repetition of the guard on either side of the grip. The decoration is composed of acanthus foliage, introducing
but
it
winged human shapes, swags of fruit and flowers, and scrollwork thickly incrusted in silver, on a groundwork that has been brilliantly blued and damascened with a true arabesque design in gold azzimiiia. The under surface of the bars is also blued and similarly damascened with arabesque designs. The grip is bound with silver wire, an XVI 11th-century addition.
IV
317
TT

This sword was one of the purchases made for the Royal Armoury early in the XlXth century from Bland, the famous sword cutler of the time. The third sword of the type, No. 60 in the 1904 Catalogue (Fig. 1380), was given to the Royal Collection about the same time by Colonel Hammond, who, according to the old Carlton House In\entory, obtained it from the Tower of London. The hilt differs but little from the other two just
Fig. 13S1.
SwoKi)
The
hilt is
probably of English workmanship, and of the closing j'cars of the Collection Viscount Astor
:
XVlth
centiir\-
described, save that the quillons are straight and that certain alterations can be noted in the position of the counter-guards. The blade is of
flattened oval section, grooved and stamped with the number I. 4. I. 4., and also with the running wolf or fox mark. It is very apparent that the blade does not belong to the hilt, being too short and too light. The ricasso
also lacking. In the old inventory the fantastic suggestion is made that the numerals inscribed on the blade signify the date of its manufacture
is
3-8'

claimed that the blade is one of those made to the order of King Henry V for the invasion of France. This, it is hardly necessary to say, is an entire invention: the numerals I. 4. I. 4. have no reference to the year 1414, but merely go to prove that the blade is of early WTIth century
1414,
and
it
is
date,
made by an Austrian bladesmith
of Steyr,
numbers, such as 1414-1415, 1441-1515, and we high a number as 1778, in addition to the running wolf mark that he utilized, in order that blades made there might not be mistaken for those produced at the Bavarian town of Passau on the Danube,
often atldcd groups of ha\'c seen an example with as
who
whose stamp of the running wolf they had borrowed.^ It is much to be regretted that all these three fine hilts have suffered so sadly from the rigorous hilt conovercleaning in the past.
structed on similar lines to those of the

last
Windsor sword we have

Collection
at
can be seen on a
Astor's
described, sword in Vîscount
Hever
Castle.
Mere
hilt,
a grandly proportioned swordincrusted with panels of silver on

is
a field of gold azziniina damascening. Its charm, however, depends not so
much upon
The
is
its
its
decoration
as
on
the
robust scale of
grip
conception (Fig. 1381).

the hilt
The
hilt is
now found with
Fic. 1382.
Swoki)
not that which was originally made for it; neither can the blade be the
original unless it was much shortened early in the second half of the
possibly of either English or
Flemish workmanship Wallace Collection (Laking Catalogue, No. 526)
WTIth
put together. The date of the hilt is of the closing years of the XVIth century. Tradition says that it was presented by Queen Elizabeth to a member of the Weatherby family, in whose poscentury
when
the sword
was
last
session
it
remained
until quite
recent times.
In
the Wallace Collection
can be seen a weapon almost similar proportions; while another (No. 526), in the same collection (Fig. 1382), shows
(No.
527)
'
but of slightly smaller
Sec
vol.
ii,
p.
258,
where the
passaîê
should read
"
bladesmith of Steyr."

a
somewhat more advanced type of the same family of weapon which
anti-
cipates the other forms that advance well into the hilt of this last-mentioned specimen is not unlike
XVI Ith
in
century. The that on the James I

the
sword
at
Windsor, both
in general
form and also
method of
its
decoration.
tary
stiff
The
always associated with English-made hilts, but which is met with also on hilts imported from the Low Countries. In the case of
this
and floral, and formal manner
various trophies, miliare rendered in that

^^hich
is
example the
hilt,
which
is
entirely
gilt, is
furnished with a hollow gadrooned pommel of inverted pear shape, with a
knuckle-guard
of
oblong
rectangular
section, with tjuillons diagonally curved and widening to ribbon ends, with a
single bar, and with n pas-(fdne, from the left side of which runs an upturned
counter-guard. The centres of the bar and of the quillons both widen they bear,
;
chiselled
in
relief,
trophies
of
Roman
oblong hexagonal panels. The remainder of the hilt is deeply engraved and overlaid with gold in a design of festoons of drapery, masks, etc. This
arms
in
specimen may be considered to be as

"as
late
the
first
quarter of the
XVIIth
cen-
Fig. 1383.
The Heualds' College

SWORD
tury.
Traditionally said to have belonged to King James IV of Scotland
this point it may not be inappropriate to refer to that famous sword and
At
The
Heralds' College
dagger
of
in the
Arms
possession of the College which are always known as the
weapons of King James IV of Scotland, and which are stated to have been taken from the body of the King, after the battle of Flodden Field on 9 September 1513, by Thomas Howard, Earl of Surrey (afterwards 2nd Duke of Norfolk). The author has already more than once expressed his unwillingness to throw any doubt upon cherished traditions; but the simple evidence afforded by the form of hilt on the swoi-d and dagger in question renders it
320

absolutely impossible to accept these weapons as belonging to the first have consulted the most famous exfêrts quarter of the XVIth century. abroad, hoping that their verdict would make the attribution of the sword and dagger to King James IV possible, if not probable; they were unanimous in agreeing with the author that a hilt of this form and of this style of
We
decoration could not possibly have been produced before the last quarter of the XVIth century, or, more likely still, before the first quarter of the next. If the traditional provenance now assigned to these weapons was ever true
Fig. 1384.
early form of cup-hilt English workmanship, of the early E.\ collection: Spitzer is here shown.
SwoKD iHi.T XVI Ith century. The
of any weapons at all, then it is possible that they may have been lost late in the XVIth century and have been replaced by those of which, by the courtesy of the Garter King of Arms, we are able to illustrate the sword (Fig. 1383).
the slender hope of the blades being of early XVIth-century make even the belief that the hilts alone were altered is considered by the Baron
Even
de Cosson to be untenable, inasmuch as both blades are essentially of a mid-XVIth century Spanish type. The sword blade is inscribed on one
face,
of
Domiugo Maestre was a A\ell-kno\\ n blademaker Toledo, whose productions arc known to belong to the second half of
321
MAESTRE DOMINGO.

the
XVIth
century.
On
the
other
face
in
Lombardic
capitals
is
the the
inscription: espoir
conforte le goeval ((;eneral?): (Hope encourages

it
general). As regards the form of the hilt, falcon head shaped pommel, a single
presents a characteristic English
upturned quillon, and a strongly developed pas-d'dne with large single rings on either side of it. Ornaments much perished ar^ to be seen at intervals in circular panels on the guards and pommel, surrounded by silver incrusted dots, with the field roughly engraved The sword and dagger were presented to the College of with foliage. Arms in November 1681 by Henry, Duke of Norfolk, Earl Marshal. No
FlC. 1385.
TUK
SWORD-IIII.T IN
THK I'OKTRAIT OK SUi
Francis Leigh
{circa 1620)
more can be said in favour of these two famous examples save that the sword is just a good English fighting sword of the closing years of the XVIth century, with its accompanying dagger, and that in the passage of centuries both sword and dagger have somehow or other become accepted as the famous pair of weapons which Dukes of Norfolk may possibly have
once possessed.
Another type of early

attention
is
XVHth
century English sword which merits
now
that which, in the arrangement of its counter-guards and the common addition of shells, shows the advance that is being made
towards the cup-hilt of the second half of the century. We illustrate an example formerly contained in the Spitzer Collection, which in the catalogue 322

of that collection was wrongly described as Italian of the XVIth century (Fig. 1384). An P2nglish portrait of
about the year 1620 represents Sir Francis Leigh wearing a sword with just such a hilt (Fig. 1385). The scheme
of the enrichment
on the principle which we have outlined in dealing with the sword and rapier hilts already described. Many such swords are to be found in F!nglish collections. A good display of them, chosen from
is
the collection of the late Mr.
Waring
Faulder,
is
to be
seen illustrated in Mr. Egerton Castle's work, "Schools and Masters of the Fence." As in the case of every group of
hilt,
individual
eccentricities
of form are
to
be noted.
There is a reputed historical weapon (Fig. 1386) in the Wallace Collection (No. 666) which is an eccentric example of the group with \\hich we are dealing. This is said to be one of the swords that belonged to Henry, Prince of Wales, elder son of King James I, and to have been sent in 1607 to the Prince as part of a gift from Louis the Dauphin, son of Henri IV of France; for the gift com" a suit of armour well gilt and enamelled, together prised with pistols and a sword of the same kind and armour for
:
a horse" (see vol.
iii,
p. 299).
This interesting tradition gains support from a comparison of the gilt decoration on the blade, which comprises the monogram H-* surmounted by a crown, and laurel foliage, with that seen on the Henri IV dagger For although the dagger (Fig. 1376) already referred to. blade was made by the well-known swordsmith Clemens
Horn
of Solingen,
that
it
was undoubtedly decorated by the
same hand
1375), to
was responsible for the ornamentation of the Henri IV sword in the Musde d'Artillerie (Fig.
j..^^.
which it is cii suite. Since \\e feel convinced that the Henri IV sword is of French, that is to say of Parisian, workmanship, we attribute to the sword of Henry, Prince of Wales, the same provenance. The hilt of the ... ,,. r^^\ iiir sword (rig. 1386) is remarkable for its extreme primitive
^^^^
is
sworu
of French
is
i-ê
hnt
encrusted with
>
The blade is origin. The sword

silver.
reputed
to
have belonged
of
vvaies.
to
nessofform; it possesses /*just the simple straight quillons ^ ^ni 1 he with on a sword 01 the XVth century. met pommel
'
^^rince
Henry, Wallace
'
Collection (Lak.ngCatalogue, Xo. 666;
323

very large and spheroidal, and the quillons, ^\hich are straight and of oval section, issue from a central block which overlaps the blade on either face; while a formation similar to that of the pommel, but smaller, is at the end
is
of each quillon. The grip is bound with silver wire. The hilt is very richly decorated with circular panels containing heads of Roman Emperors, between which are bunches of flowers and fruit; from these, hung by ribbons, appear
trophies of Cupids' masks,
etc.,
thickly incrusted with siK'er.
The ground-
Fk;. 1387.
SWOKD
HH.T,
FROM A PORTRAIT OF ONE OF THE FIGHTING VERES

hilt
Showing the
those on the
with silver medallion heads similar to hilt of the sword illustrated in Fig. 1386. The picture is dated 161 8
work, originally
interest
gilt, is
now somewhat
corroded.
We
give as a matter of
and of comparison a portion of a portrait of one of the fighting Veres, painted by an anonymous artist of the early years of the XVI Ith similar to that century, in which the hilt of the sword shows a decoration which appears upon the sword just described, although the form is of the usual James I type (Fig. 1387). A variation of the James I .sword-hilt is one in which the counter-guards are dispensed with, the parts of the hilt consistthe quillons ing solely of the big spheroidal pommel, the knuckle-guard,
324
the pas-d'diic
diversely curved, and a single ring-guard. This, as will be recognized, hilt very much like that of the so-called James IV sword without
is
the
proper
hilt
for a veritable back-sword used

hilt
example which has never been unmounted, was formerly in the collection of M. Raoul Richards, later in that of Mr. W. H. Spiller, and is now in that of Mr. Godfrey Williams of St. Donat's Castle. The hilt is effectively incrusted with silver on a groundwork that was once gilt. A far more important weapon, and in every way a remarkable sword for one of English make, is the back-sword in the collection of the late Mr. Rutherford Stuyvesant of New " -~~^-- -York (Fig. 1388). This is the first time we mention the true basket-hilted sword which to-day is universally
'
only for cutting strokes. a fine and representative
The
we
illustrate (Fig. 1387A),
l-'ic;.
1387A.
SwoKi)
nn.T
English ^
'
'
^''
"early
XVI Ith
century.
Collection
Mr. Godfrey Williams
but erroneously
(vol.
ii,
p.
302).
is
known as the claymore The hilt, which is thick
and massive,
in
decorated with the greatest incrusted with chased silver richness, being
very high
relief.
The groundwork
gilt.
is
granulated, and has been entirely

is
It
interesting to note that the last bar of the hilt has been purposely broken off to
give full play to the wrist. The blade now in the hilt is fine in quality, but has been
adapted to
it.
This sword,
like others just
Fig. 1388.
Baskkt-hilted swoRP
described, was essentially made for cutting. It was at one time in the collection of the Baron de Cosson. Here we see the basketone of its earliest forms and hilt in but little removed from its prototype, the
basket-hilted
English workmanship of the first quarter of the XVIIth century. The sword probably belonged originally to Sir William
weapon used by the hired
soldiery of Venice, who were known as the Sr/imvo/ii (Slavs), a circumstance which
led to the type of basket-hilted sword they habitually carried being called the Schia-
Twysden
of
Roydon
Hall, Kent.
Collec-
tion: the late Mr. R.
Stuyvesant
There is good reason for believing that the Rutherford Stuyvesant sword belonged originally to Sir William Twysden of Roydon Hall, uu IV 325
vona.

in
Kent,
1.
who was
created a Knight by
James
in
1603,
and a Baronet
in 161
The
true Schiavona, from which, as far as
of the later basket types were evolved, is guard than is the case with any of its
tective, the
we are able to judge, all hilts far more protective in its basket descendants. Though more pro-
very completeness of
its
knuckle and finger defence rendered
Fig. 1389.
Schiavona
Fig.
390.
Rapier hilt
b.\sket hilt
Venetian, of the XVJIth century Collection: Mr. F. Joubert
Flemish, of the early XVIIth century Wallace Collection (Laking

Catalogue, No. 415)
the play with it somewhat limited, for with the hand completely encased within its basket certain manipulations of the blade were impossible. This must have been the case even with the basket hilts of the English broad-
sword, for such hilts are occasionally met with from which the outside bars of the basket have been purposely broken away in order that the hand
within might be less hampered, and freer movement of the wrist possible. The difference between the basket hilt of \\\q, Schiavona and the contemporary
326

English
hilt after the
is,
same fashion
is
it
that the basket of the latter
is
more
solid, that
the bars that constitute
the systematic parallel but somewhat protection also continues over the top of the blade, guarding the two fingers that grasp the grip over ^ pas-cfdfie, as in the rapier hold of the later part of the XVIth century. Though many Schiavone of the last years of the XVIth
are placed closer to^êther and not in open form of the former. The Ixiskct
century doubtless exist, they are rarely met with; those that are generally offered for sale date from the XVI Ith century, and many of these belong to
the latter part of that century. The specimen we illustrate (Fig. 1389) is chosen from the collection of Mr. Joubert. It is of fine quality and complete,
Fig. 1391.
Rapier
Fig. 1392.
Raiter
Flemish,
tury.
first
The
quarter of the XVI Ith cenblade is by Clemens Horn
Flemish,
first
quarter of the
XVI Ith
century.
late
Collection: the
Collection: the late Mr. F. G.
Macomber, U.S.A.
Mr. F. G. Macomber, U.S.A.
scabbard, while the hilt has never been disturbed. All Schiavone, in their original condition, have the same flat and shield-shaped pommel with a boss on either side, reminiscent of an earlier epoch, indeed, a direct survival of the pommel found upon a series of Venetian swords of the latter
possessing
its
years of the
XVth
The
Venice arsenal.
century, of which a good array is to be seen in the pommels of the Schiavone are often of bronze, white
is
We should Mr. Joubert's Schiavona to be about 1640-1660. Schiavone judge the date of of exactly the same form, but more decadent in their decoration, elaborately mounted with low standard silver, and set with coloured glass jewels are
327
metal, or silver, as in the case of Mr. Joubert's example, which roughly chased with ornaments reminiscent of the Renaissance.
cast
and

occasionally met with; these might even date within the opening years of the XVIIIth century. In the ea-rVier SckiavoHe, blades of high quality of late XVth century date are sometimes to be found fitted to
^W ^"^^
these
hilts,
but as a rule the blades are of the
Ferrara
il
^^^^1^^
\h^^
have School of the latter part of the XVIth century. never seen a back-edged blade fitted to a Schiavona except it be a later addition. A type of sword, even as early as 1526, was known under the name of Schiavona, for in that " two Schiavonas well year the Marquis of Mantua sent " to his ambassador at garnished and with good blades Milan to be presented to the Marquis del Guasto. What was the formation of the hilt at that early period we do not
We
know.
Fig. 1393.
Rapier
variety of the Flemish type, first quarter of the
XVIIth century
Ex
collection
the late
Mr. E. Brett
of English origin, to which they are closely allied in form, make a very late appearance. It is not until the close of the XVIth century that they can be actually recognized as forming a group disdistinctive
hilts,
The
Flemish
like
those
tinct in itself;
but apart from those forms which undoubtedly
betray their nationality, there are Italian and French hilts which are decorated with designs of Flemish character. The author thinks that these are perhaps
Flemish weapons fashioned on Italian lines. It is not, however, until their history comes down to about 1590 that the Flemish hilts can lay claim to
be considered as forming a distinct group. In nearly every case they are found with fig-shaped
pommels,
full
knuckle-guards, diagonally curved
ribbon-pattern quillons, simple counter-guards, and large protective shells on either side. All types of
blades of different countries are

the Wallace Collection (No. 415)
fitted to
is
them.
In
a very complete
Fig. 1394.
(Fig. 1390). The hilt is entirely fire gilt, with a fluted fig-shaped pommel,
and representative example
Rapier
slender knuckle-guard, and diagonally curved quillons widening at the ends to a ribbon form. The
large shells are pierced with a
P'lemish, about 1620-30. Wallace Collection (Laking
Catalogue, No. 546)
scheme of crosses
heart-shaped ring is outside the shell. In the case of this example the grip modelled in iron is of baluster form. The blade is by Johannes
and
stars.
328

Hoi'PE of Solingen/ and is partly of flattened diamond section, etched near the hilt with short patriotic inscriptions in Latin. The ricasso is covered with gilded iron made to fit over the top of the scabbard. Another fine
sword-rapier of this same type is in the collection of the late Mr. Frank Gair Macomber of Boston, U.S.A. In the case of this Example the hilt of blued steel has had fitted to it a finely etched blade by Clemens Horn
In the same collection 391). rapier like its companion in form, but
(Fig.
1
We
another (Fig. 1392) fine swordwith a hilt of steel plated with silver.
is
give two other variations of the Flemish rapier-sword hilt; one which came from the collection of the late Mr. Edwin Brett (Fig. 1393) has a gilt
pierced on one side with a circular hole, to which could be attached a tassel or sword knot. The other is a hilt in the Wallace Collection (No. 546) of more elaborate construction,
iron hilt possessing a
flat
oval
pommel
though of
later
date,
being of the
first
quarter of the
XVIIth century
(Fig. 1394). The whole of this latter hilt is silver-plated, the decoration of which consists of roughly chiselled strapwork and of crude engraving on a
ground that is worked to a matted surface. This rapier has a pear-shaped pommel, with flat curved quillons ending in cartouches, its two rings are also enriched with cartouches, and the small shell has a pierced ornament. The blade is of flattened diamond section bearing on the ricasso the name CAiNO, denoting that it is the work of Pietro Caino, the bladesmith of Milan, " whose house was at the sign of " The golden lion in the via degli Spadari, in which street the great Milanese armourers, the Missaglia, once lived.
'
Vol.
i,
p. Ixiii
329
CHAPTER XXXVI
IIAFTED WEAPONS IN GENERAL USE FROM THE MIDDLE OF THE
XVlTii
CENTURY ONWARDS
'ROM
the early years of the XVIth century the hafted weapons were but an elaboration evolved from those of the previous eras.
first half of the century they were fine fighting weapons, and eminently useful for the purposes for which they were intended. But as might have been expected, when Renaissance decoration was in universal favour, it was not long before these weapons came under the hand of the decorative artist and designer. We have very briefly dealt with them in regard to their general construction in the previous centuries, and in returning to them again, as we find them in mid-XVIth
In the
century times, there
generally, however, their utility had to a certain extent diminished; while in some cases the original principle of construction is hardly recognizable owing to the elaborate ornais
very
little
to add.
Taken
mentation with which they were burdened. We have little to add to our notes on the lance; for we have already alluded to it in its XVIth century form. Late in this century all sorts of variations were made in the shape .of those employed in the various military sports, such as are fully described in Pluvinel's Maneige Royal, published in 1623. The lances so employed, however, were so different from those which
had any warlike significance, that we will not describe them here. War lances throughout the XVIth century still retained the leaf-shaped heads which it is customary to associate with those of almost every period. We have chosen illustrations of four XVIth century lance heads from the
Royal Armoury of Madrid, so
rich in lances of this period (Fig.
1395
a,
Without exception they do not vary from those of the previous b, c, d). The second (Fig. 1395^^) is of a remarkably early type, and had century.
there not been proof of head of a war lance of
its
XVIth century make, it might well pass for XlVth century date. The fourth (Fig. 1395^/)
330
the
is
HAFTED WEAPONS OF THE XVIth AND
XVIIth
CENTURIES
type which one would be inclined at first sight to associate with the tournament field only; but it must be remembered that on the famous tapestry in the Musde Cluny, which depicts the conquest of Tunis in 1535, the knights for war are fully caparisoned represented armed with lances possessing heads similar. This is evidence that such heads must have been in use exactly
both
war and tournament. The hafts of the war lance were generally of
in
ash, for
which certain
countries were famous.

"
The
pike and lance
In 1593 Sutcliffe, in his " Practice of Arms," says: would have, if it might be, of Spanish ash and between
feet long." Navajiro, in his Vinje por Espana, suggests the cultivation of the ash in the Basque provinces, more especially for the of making the hafts of pole purpose weapons. At an earlier date (1535) there
20 and 22
{a)
{b)
{c)
{d)
Fig. 1395.
First half of the
War
lance heads
XVIth
century.
a record of a contract entered into by commissioners acting on behalf of the Emperor Charles V, with the armourer, Antdn Urquiû of Elorrio, for
is
the supply of 6,000 ash pikes, each of 25-26 hands in length. As the XVTth century advances, students of armour become sensible that the use in civilized warfare of the pole-axe, of the war-hammer, and
of the mace has greatly diminished, and although certain forms of these weapons continued to be carried, they were no longer seriously considered
even as auxiliary weapons, but were in favour merely on account of their warlike appearance and decorativeness, qualities which are strikingly apparent in a beautiful example (Fig. 1396) now to be seen in the Metropolitan Museum of New York. The head of this war-hammer is of iron, remarkable for the
richness of
its
workmanship;
it is
in perfect preservation; its
sharpness and
the accuracy of its chiselling is very striking. The top of the weapon takes the shape of an octagonal galley lamp, each facet pierced with openwork.
331

The head is connected with the haft socket by means of chased openwork vokites. The hammer and beak, the latter SHghtly hooked, are richly chased, the hammer being ornamented with figures, animals, masks, and grotesques; the beak with masks, shells, and openwork fluting. The haft socket is
entirely
covered with caryatid birds,

relief
chased in high
ornaments, and festoons in the most luxuriant taste of the Renaissance. This
interlaced
Fig. 1396.
Italian,
second half of the
Chiselled iron pole-axe head XVIth century. Metropolitan Museum, New York
hammer head was
formerly in the Cadogan Collection. It was exhibited in 1857 at the "Exhibition of Art Treasures" in Manchester. It passed later into the Spitzer Collection, afterwards into that of the Due de Dino, and thence
to the Metropolitan
Occasionally one finds the primitive form of the war-hammer adhered to, as in the case of the example we next illustrate (Fig. 1397), which, had the surface not been enriched with gold and silver azzimma damascening, might reasonably be supposed to belong to
of
Museum
New
York.
the end of the
XVth
century rather than to the close of the
XVIth
century.
332
HAFTED WEAPONS OF THE XVIm AND XVIIm CENTURIES

more can be said about the war mace than what we have already written in dealing with those of the previous century. Of the highly enriched XVIth century type there is a very remarkable example in the Metropolitan
Little

while the end of the grip finishes in a small faceted pommel. The flanges decorated with divers designs are surmounted by a faceted pyramidal form are the Latin inscriptions in Arabic finishing in a small point upon which
Fig.
399.
Parade mace
belonged to Henri
II
Fig. 1400.
Parade mace
This mace
France.
may have
of
Probably French, second half of the
Probably Spanish, and damascened by de Zayas, second quarter of the XVIth Diego
century.
XVIth
century.
49,
Musee
d'Artillerie,
50, Mus<5ed'Artillerie, Paris
Paris
characters:
de caias PACiiinAD. decvs et tvtamen in ar.mis and DONEC totv.m impleat orbem. Other inscriptions in mock Arabic are
didacvs
also to be .seen on various parts of the mace. Among the notes relating to the private expenditure of Francois I" the following occurs: "To Diego de
334
HAFTED WEAPONS OF THE XVIm AND XVIIm CENTURIES

Cayas as payment
damascene, 112
I
for a
dagger with a
this gold
hilt,
and sheath of
is
steel
worked
in
X."
dagger enriched by
damascener
now
to be seen in the
Royal Historical Museum of Dresden. It is described in the Fiilircr dimli das Koiiigliche HistoiHsches Museum su Dresden von M. von Ehrenthal " (Dresden, 1899) as follows: Dagger with its sheath; the hilt and the guard are damascened in gold, the blade has the following inscription: in semink Tvo BENEDiciTVR FiLivs Tvvs, and the signature of the damascener, diego DE CAIAS FACIEBAT," which leads to the supposition that it is the actual
dagger referred to in the record of the private expenses of Francois V'\ The mace which we have just described was found in a country house in the north of Spain. It was discovered by Don Jose de Argaiz, a well-known Madrid
collector of arms,
who
died
some years ago
.Afterwards
it
passed
into
Since the second inscription upon it is known to have been a motto used by Henri II of France before his accession to the throne, there is reason to believe that this mace was once his property; it would be difficult, however, to explain how an arm which might have belonged to
Spitzer's Collection.
have strayed to an out-of-the-way place in Spain if it were not remembered that this prince, when he was still Duke of Orleans, went to Spain as hostage for his father, who had been made prisoner at the battle of
II could
Henri
Pavia.
The Musee
d'Artillerie of Paris possesses a
mace
(Fig. 1399)
;
which
is
almost identical, save that it is not signed by Diego de Zayas but it certainly is his work (K 50). On it can be seen the same designs, the same animals, and the same inscriptions in Arabic, or in imitation of Arabic; for in both cases these inscriptions make no sense, being merely composed of characters taken
random. This mace also bears the two identical mottoes; it is also attriAnother enriched mace (Fig. 1400) in the Mus(fe buted to Henri II. dArtillerie(K49) is a somewhat later production; but even more elaborate. It has a head of six flanges, each in the form of intertwined bodies of two dolphins holding in their mouths the fleur-de-lis, thus showing the French royal provenance of this parade arm. The haft is distinguished by three forms of decoration, the first a kind of trellis, the other two scale patterns of various In the Wallace Collection dimensions. The whole mace was once gilt. (No. 633) is shown a fine decorated mace of the XVIth century, perhaps a little
at
simpler in design than the three already referred

(Fig. 1401).
to,
but a splendid example
Here the head
is
composed of eight
335
flanges, the outline
formed to
a double
scroll,
with a small blunted projection
in the centre
of each; the haft

and hollow. The whole surface is decorated with gold plating in a design of oblong panels of arabesques and intertwined ornaments, introducing what appears to be the Roman numeral 1 1 II. This specimen is Italian, and certainly of the third quarter of the XVIth century. We illustrate three other maces of typical mid-XVIth century form (Fig. 1402 a, b, c). The second of these (Fig. 1402 b) is of
is
cylindrical
workmanship; for not only are the head and grip beautifully damascened with gold, but the haft is chiselled with fine motifs in the taste of the French Renaissance, the groundwork being plated with gold. This mace was formerly in the collection of the Due de Dino, and is now in
especial beauty as regards
the Metropolitan Museum of New York. It will be noted that these maces, though retaining the constructional ideas of the
XVth
century, rely on
all
the late
XVIth
century motifs for

in the
their enrichment.
Towards
turies,
the close of the
XVIth and
XVIIth
cen-
heads of maces are often found of semi-Oriental form; instance, the head is sometimes constructed with many more flanges, the whole taking almost a spheroidal shape, such as is met with on maces of Turkish and of Polish origin. Then again direct copies of the Indian gargaz, such as that beautifully decorated weapon. No. 647, in the Wallace Collection, are often to be seen (Fig. 1403). The formation of the " head of this curious mace or " morning star appears to be identical with that of the formidable ball-headed mace with small blades protruding from it, a specimen of which, made at Delhi, can be seen in the Wallace Collection (No. 2328 of the Oriental Armour section). The head of the mace is globular Fig lAoi Pak.vde MACE ûid has twenty-two pyramidal spikes; the haft is cylindrical The grip is of square section, and terminates in Italian, second half and hollow.
for
wliiace conecdoii
(Laking Catalogue,
^^
'^'^
acom-shapcd pommel with small rondel. It is decorated with oval paucls, cugraved and plated with gold, each contain-
The
general
ing an emblematical classical figure, bordered with silver spots. groundwork is covered with' C-shaped scrolls, and filled with
minute work in gold azzimina damascening. Down the centre of the haft is a fluted ornament in gold plating. This mace appears to be a production of northern Italy, probably of Venice, and of the closing years of the XVIth
century.
336
HAFTED WEAPONS OF THE XVIth AND XVIIm CENTURIES

The Musde
(Fig. 1404).
d'Artillerie of Paris
(K
56)
shows just such another mace
In the head are also twenty-two spikes.
The gold
decoration,
(a)
{/>)
(0
Tig. 1402.
(rt)
Maces
(d)
Mace. Italian, middle of the XVIth century. Collection: Author Parade Mace. Probably French, middle of the XVIth century.
E.k
Dino
Collection.
Metropolitan
(c)
Museum, New York

Found when
:
Mace, formerly gilt. Probably Spanish, middle of the XVIth century. excavating in Northern Spain. Collection Author
though different in treatment, is very possibly the work of the same hand which ornamented the Wallace mace. The final form of the metal mace, although in this instance an early example of it, is to be seen in the commander's baton now in the Wallace
337

Collection (No. 823). This takes the shape of a hollow cylinder of russet iron its whole surface inlaid with a closely grouped table of numerals in
Fig. 1403
Fig. 1405
Fig. 1404
Fig. 1403. Mace. North Italian, late XVIth century. Collection (Laking Catalogue, No. 647)
I'"iG.
Modelled
Modelled
after the Indian ^rt/'^rt^.
Wallace
1404.
Mace. North
Musee
Fig. 1405.
Italian, late d'Artillerie, Paris
XVIth
century.
after the Indian
.^rt;-^'-^^.
56
Commander's haton. The final form of the mace. Spanish, Wallace Collection (Laking Catalogue, No. 823)
late
XVIth
century.
From the character of the damascening we gold azzimina (Fig. 1405). would consider this mace to be of Spanish origin, and made towards the
338

close of the
XVIIth
CENTURIES
possession
it
XVIth century. Early in the XlXth century it was in the of the Duke of Alba, and at the sale of his collection in Madrid
picture by Sir Samuel Meyrick. Sir Samuel described in detail this baton, sho\Aing the useful purpose which the table of
was purchased together with a

;
numerals served
"
It is
we quote from him
of
steel,
hollow, to contain the muster-roll of an army, and covered
Fk;. 1406.
Pole-axe
Fig. 1407.
Mace
Probably
The slender form of the early XVIIth century. Metropolitan Museum,
pistol attached to the haft.
German, second half of the XVIth

century.
60,
Musdc
New York
d'Artillerie, Paris
outside with Arabic numerals in gold with divisions of silver on a russet groimd. These are the results of calculations according to the system of
warfare in the
is
apprised
XVIth century, by which, on being turned round, the general what number of men would occupy any given space, and vice versa.
are arranged in ten columns, covering one half of the cylinder, with the continuation on the other half. The heads of these are as follows: ist,
They
Nunicro de gente, commencing at 100 and increasing by fifties till 1,000, and then by hundreds to 16,000; 2nd, Tnntos por liilera; 2)^\\,Tatifas /li/crns;
339

Frente de esqitadron q tin dm do de sitio; 6th, Costa do de sdron qnadrado de sitio\ 7th, Sobras; 8th, Nnniero de esquadrofi quando tiene gente\ 9th, Numero de esquadron sin gente\ loth, Sobras y Some phrases in the French language are supposed to allude to figures such as these found on batons, dtre bien assurd.de son baton," obtenir son '' dtre rdduit au bdton bland' obj'et par le tour du bdton^ and At the end of the XVIth century it will be found that the pole-axe, perhaps with the exception of the Lucerne hammer to which we have referred (vol. iii, p. 104), was a very different weapon from that of the first quarter of the
4th,
Sod fas;
5th,
''
''
century,
can claim to be called a weapon at all. Those that show any enrichment have become slender in their proportions, and relegated almost entirely to ceremonial use, being evidently useless as fighting
if
indeed
it
weapons (Fig. 1406). Indeed, they are little better than the weapons of similar form which to-day are carried by the gentlemen-at-arms attendant on
the sovereign.
mace concealing in their hafts, are constantly to be met with, and are often of pistols very beautiful workmanship; but in nearly all cases they are cumbersome and impracticable weapons, made most probably to satisfy the fancy of some individual. We illustrate three. The first of these (Fig. 1407) is a mace with a single barrelled matchlock pistol incorporated in its haft, and is in the Musde d'Artillerie (K 60); a finely etched weapon with a well developed wheel-lock on the side, but which lacks its wooden grip. The second, which can be seen in the Tower of London, and which is complete, is of the same type as the first (Fig. 1408); the third (Fig. 1409) is a far more elaborately designed weapon with a six-flanged head, which has the barrel of the pistol concealed down- its shaft; while in the rondel above the
Combination weapons
grip
a battle-axe, war-hammer, or
hidden the secret wheel-lock. The apertures through which the wheel was wound can be seen in the illustration. consider this last combination weapon to be Italian, of the last quarter of the XVIth century. The most ungainly of these arms, which the author knows of, is an early XVI Ith century example in the Tower of London (Fig. 1410). It has an ill-balanced axe or pick head containing seven concealed barrels with a combination wheel and matchlock discharge. Clumsy though its appearance is, its workmanship is good and shows considerable ingenuity in its mechanism. When we come to deal with the longer hafted infantry weapons of late XVIth and even early XVI Ith century date, we notice that all the characteristic forms in use in the first part of the XVI Ith century are still to be
is
We
340
XVIIth
CENTURIES
recognized. The glaive, the voulge, the partisan, the ranseur, the spetuni, the bill, and the guisarme are still to be met with in their old forms, and, generally speaking, it may be taken for granted that most of the commoner
Fig. 1408.
Mace
In the haft
is
Fig. 1409. lock
Mace
pistol attached to the haft. Probably Italian, second half of the XVIth century.
in
hidden a pistol with its wheelthe rondel above the grip. Italian,
Ex
Brocas Collection. The Tower of London, Class XIV, No. 4
late
XVIth
century.
58,
Musde
d'Artillerie, Paris
makes
of such
weapons
that are to be found so plentifully in collections to-day
date from about the latter part of the XVIth century, examples of the XVth and early XVIth centuries having of late years become difficult to obtain.
be sufficient for our purpose if we illustrate a few of the more elaborate and decorated examples of these. In the processional hafted weapon carried by
It will
IV
341
YY

the guard of Pope Paul (Camillo Borghese, 1605-21) we see the counterpart of the XVIth century glaive. The example in the Wallace Collection (No. 813)
as fine as any known (Fig. 141 1). This specimen, according to the family tradition, was stolen about the end of the XVIIIth century from the Borghese
is
Palace,
where there was once a collection of twenty-five of these weapons. Before passing into the Wallace Collection it used to be in that of the Comte
Fig. 1410.
War hammer
concealed in the head.
French,
This weapon contains

century.
five barrels
XVIIth
The Tower
of London, Class
XIV, No. 6
de Nieuwerkerke. In form it possesses the usual curved cutting edge; while an ornamental projection issues from the back of the blade, finishing in a beak of diamond-shaped section. The whole surface is richly decorated with variously
shaped panels outlined in silver incrustations, and containing the Borghese arms engraved and gilt. The groundwork is covered with minute scrolls damascened in gold azzimina on a blued surface. The appearance of the weapon is rich; but the workmanship is coarse and the design is without originality. " Under the heading of the " partisan must be grouped the processional 342
HAFTED WEAPONS OF THE XVIth AND XVlIm CENTURIES

weapons carried
by
the
Polish
âiard
of
Augustus
II,
surnained
the
Strong, Elector of Saxony and King of Poland.
Certainly they are late
Fig. 141
1.
Processional Glaive
Fig. 141
2.
Processional I'ARTLSAN
Carried
by the guard of Pope Paul

North
(Camillo
Borghese, 1605-1621).
Italian,
Carried by the Polish guard of Augustus II, Elector of Saxony and King
of Poland (1670-1733). Wallace Collection (Laking Catalogue, No. 748)
early XVIIth century. Wallace Collection (Laking Catalogue, No. 813)
or even early XVIIIth century weapons; but they afford a good example of the continued use of the XVIth century form of head. The Wallace Collection contains several specimens, and there are two in the
XVIIth
343

Norfolk Collection at Arundel, while on the continent many are to be found. The lower part of the blade of the weapon we illustrate is formed to the outline of a double-headed eagle, upon which is a flaming sun chiselled with a cross in low relief in the centre. The whole design is surmounted by a crown, and the head ends in a flamboyant tapering blade. The details of the decoration, especially the plumage of the eagle, are boldly chased and partly gilt.
The
haft socket is octagonal (Fig. 1412). The Musee d'Artillerie (K 497) a head richly supplies us with a different type of partisan head (Fig. 141 3),
etched and at one time gilt with the arms of the Elector of Bavaria and with the date 1677. On the reverse side of the blade is the date 1741, subsequently
added.
In the Wallace Collection (No. 487)
we must draw
beautifully designed partisan head (Fig. 1414) used by of Louis XIV, and carried out from the design of Jean blade is of the usual partisan type; but it is finely pierced
attention to a very the personal guard
Le
Paultre.
The
and chiselled with
a centre column, at the base of which stands the figure of Hercules with the Below the pedestal are two seated figures of captives; lion's skin and club. at the top of the column is the fleur-de-lis, and suspended in the centre is a
circular medallion containing the laureated head of Apollo, encircled with nec pluribus impar. The the motto adopted by the King in 1666:
supported on either side by flying cupids with trumpets. The whole of the groundwork is decorated with designs of trophies of arms and laurel branches. Many of the flat surfaces are plated with gold. The haft socket
medallion
is is
faceted
and has a
circular hole, in
which formerly was the lug or short bar
common
to partisans of this type.
have described late types of partisans because they demonstrate clearly the continued use of a XVth century form of weapon late in the XVI Ith century; they were carried by the guard of great princes, but there are many richly decorated partisans of late XVIth and of early XVI Ith century date, possessing great artistic merit, which were individual weapons. We will now consider and illustrate a few of the highly enriched weapons of this class that are to be seen in various collections. Many are veritable works of art of their particular periods. From their sumptuousness and from the labour bestowed upon them they must have been the personal ceremonial
We
weapons
Quite a splendid partisan was formerly in the Spitzer Collection (Fig. 1415). To the author it appears to be of German workmanship; but the design of its enrichment is inspired by the art of the late Italian Renaissance. The blade presents no variation from the usual form; it terminates rather abruptly and appears to have lost
of individuals of
rank.
344
HAFTED WEAPONS OF THE XVIth AND XVIIm CENTURIES

six inches of its point. Its date the XVIth century. The chiselled work
some
is
probably of the closing years of
of fine quality
it
is
also attractive,
upon thclower part of the surface is being of a russet black colour upon a
.If
Fig. 141 3.
Processional partisan
Fig. 1414.
Processional partisan
Carried by the guard of an Elector of Bavaria. Dated 1677. 497,
Musee
d'Artillerie,
Paris
Carried by the personal guard of Louis XIV of France. Probably from the design of Jean Le Paultre (161 8- 1 682) and made about the year 1680. Wallace Collection (Laking Catalogue, No. 487)
gilded ground: on one side are introduced a circular medallion containing the subject of Pyramus and Thisbe, on the other another medallion showing
Apollo slaying the python.
partisan very
much
is
of the
same proportions,
in the
now though somewhat more graceful in its outline, the King at Windsor Castle (Fig. 1416). It was formerly His Majesty 345
in the collection of

armoury
collection
of
it
King George IV at Carlton House. In the inventory of that " was described as a partisan once the property of Henri IV of
Fig. 141
5.
Ceremonial partisan
:
Probably German, closing years of the XVIth century. Ex collection

Spitzer
4 16. Partisan Probably belonged to Henri IV of France. French, early XVI Ith century. Collection: H.M. the King, Windsor
Fig.
1
Castle
This statement is no doubt based on the fact that one of the principal themes in its decoration introduces a curious monogram consisting of the letter H, possibly the initial letter of "Henri," and two interFrance."
346

laced letters
of that
XVIIth CENTURIES
the favourite
that were construed into the
monogram used by
Noiivel
King, (labriellc d'Estrtês. M. Joannis Guigard, in his work on of the Armorial du Bibliophile, vol. p. 158, gives an illustration cover of a Book of Hours, probably by Cloris Eve, which belonged to Gabrielle d'Estrês, Duchess of Beaufort, which has the same curious cipher stamped on it in many places. So unusual is the cipher,
i,
and so exactly similar

that the author
is
partisan, inclined to think that the theory of the
is
it
to that
upon the
Estrees chiffre may be accepted, which in connection with the prominence given to the letter H, tends to strengthen his belief that this partisan was at one time
personal blade has at
right angles,
the
property of Henri IV of France. The its base double curved beaks projecting at
and down the centre
is
a pierced channel,
interrupted at intervals by small diamond-shaped bars. The haft socket is octagonal, tapering to the head, where it finishes in a moulding of gilt steel; at the
base
haft,
is
is
also
is
which
in
a similar moulding, but silver-gilt. The not shown in the illustration, and which
pieces, is of
made
two
mahogany, shod with a
steel
cylinder at either end and with a connecting cylinder in the centre. These cylinders, as also the head of the
weapon, are the field of the richest gold and silver incrustation. Besides the monogram we have alluded to there are introduced into the ornamentation figures of Mars and Minerva, trophies of classical arms, and branches of olive, laurel, and palm leaves; while, with the exception of the upper part of the blade, the exposed iron A A ^ AA ^ .U groundwork is russeted to display advantageously the
Fl<^-
PKOCES'417signal partisan
various inlaid ornaments of gold and silver. The whole decoration of this fine pageant partisan is executed under
Probably English, about the year i6oo. ColJection:
a definite classical influence that appears for the first time in France in the revivals of the ebonist, Andrd Charles Boulle.
is
Author
belief
is
Our
so individual in style as to be the work of some French that this partisan armourer of note, of whose name there is no record. think that the work on the weapons illustrated in Figs. 1375, 1376, and 1386 is from his hand, as
We
also,
believe, are a pistol. No. 808 in the Wallace Collection, and two pistols in the collection of Mr. Edward H. Litchfield of York. will deal finally
we
New
We
347

with the parade partisan by giving illustrations of two very rich weapons. The first of these (Fig. 1417) is an example of the early years of the XVIIth century, simple in outline, but heavily incrusted with This silver on a ground worked with gold azzitnina.
JJk
aA
by craftsmen in England. We look upon this partisan head as English work under Italian influence. The other weapon, a very fantastically shaped partisan head is the last to which we shall allude, No. 477, Wallace Collection (Fig. 1418): it has the broad tapering central blade of no unusual design, but the lateral projections are most complicated, following the outline of two crowned dolphins' and eagles' heads all elaborately pierced, and at the same time chiselled and gilt with figure subjects, etc. The haft socket is fluted, and at its juncture
with the blade there
a square-shaped block, curiously are inclined inlaid with plaques of mother-of-pearl. to consider this pageant weapon as of French workmanis
ornamentation recalls that seen on some of the late Elizabethan and James I sword and rapier hilts (page 315 ^/ seqq.). Though we have suggested that this type of decoration was originated by Italian workmen, there appears little doubt that it was often used
We
ship of the first quarter of the XVIIth century. The halberd throughout the latter part of the
XVIth
and well into the XVIIth century takes a great variety of forms, and their decoration nearly always runs riot; but in the case of the commoner and simpler weapon used by the soldiery,- the simple early forms are more or less
adhered
Fig. 141 8.
In the head of the halberd carried by the Trabanten Giiardia of the Electors of Saxony can be seen
to.
ProcesSIGNAL PARTISAN
a combination of usefulness of form and of appropriate decoratiou these, together with the morion helmets worn
;
^ySr'^L^'Sacfcoiiec'
tion
(Laking Catalogue,
'*^''
îth them (sce ante, Figs. 1282 and 1283), can be found jn nearly all important collections. The halberds and
morions date for the most part within the last quarter of the XVIth century, and vary considerably in the quality of their manufacture; some, indeed, are so poor in workmanship that they may be of later date and copied in the XVIIth century from the XVIth century Dresden or Nuremberg
348
U
u
V
5 o
c o o
Q. u V
4-
c o X
<
in
O u
00
on
c u
3
'5 -^
m
4J
>
_rt
'< p
aj j
a <o aa
>
< ^
u. .2 -o u-
o ^ >
_-
I*
S
.
p 5 w <u i 3 3 E 5;
"=
cr,
rt
'
t^ "^
u
.
o .M ^
*J
J.
rt
^'^
^
g.
00
"^
ii
^^
W
g
tjC n)
"
" O S -^-= "^ U u u u o
^^
3
J3
c X E
^-
00
ft
<j
"^
"v>
IV
349
z z

halberds possess the long central spike, a blade on one side with a scroll-shaped cutting edge, balanced by a down-curved beak on the opposite
model.
The
side,
which has a reinforced point. The surface of the base of the halberd head is etched and often gilt, with arrangements of strapwork in the Saxon
Fig. 1420.
Boar-spear head
British
Fig.
Milanese, about 15801
42 1. Boar-spear head Milanese, about 1580-1590.

1
590.
Imperial Armoury,
Museum
Vienna
manner, introducing the arms of Saxony. The example we illustrate is from one of the many in the Wallace Collection (Fig. I4i9). Individual fancies as regards form and decoration are constantly to be met with in halberds of late XVIth and early XVI Ith century date. In the group
illustrated are represented four other different types of decorated halberds
of the closing years of the
XVIth
century (Fig. 1419
d, c, d, e).
350

The early XVIth century spetum,ranseur, and
parts centuries.
in their
XVIIth CENTURIES
of the
voulgeall had their counter-
decorated descendants of the late

later
XVIth and
XVIIth
These
weapons are
not,
however,
rarities,
and examples may be
studied in nearly all important collections. There should also be noted the various forms of the early boar-spear, which often by the elaboration of their ornamentation
are
weapons of great
point to the fine
richness.
As an
instance
we
head
in the British
Museum
(Fig. 1420), a very beautiful specimen of chisel-
and gold damascening, and certainly the work of an armourer of note for the head is cleverly designed and would appear to have been
ling
;
a popular model, as a repetition of it with certain variations can be noted in the Imperial Armoury of Vienna (Fig. 1421 ). Both these examples would seem to be Milanese and of
the closing years of the XVIth century. In the Wallace Collection (No. 488) there is a finely decorated boar-spear head (Fig. 1422) with the
upturned lugs, which Meyrick described as "a partisan of the Guard of the Duke of Parma," but which without doubt is a hunting weapon.
great care and the richness of the gold overlay is remarkable. It is charged with the quarterings of Farnese and of Parma; so tion of about
it
1
The workmanship shows
is
doubtless an Italian produc"
590- 1 600.
holy Fig. 1422. Boar-spear head water sprinklers," and military forks, including Etched with the arms of Farnese and the arms evolved from peasant weapons, are to Parma. Italian, about 1590- 1600. Ex be seen in their late XVIth and early XVIIth Meyrici< Collection. Wallace Col-
All the forms of
morning
"
stars,"
century forms; but since our notice of the hafted weapons of earlier date in Vol. Ill, Chapter XX,
dealt
lection
(Laking Catalogue, No. 488)
with them even in their latest form we will not again here allude to them. Practically the only pole-weapon newly invented in the second half of the XVIth century was the linstock, a weapon of double service, possessing a central blade resembling a small partisan, and projections, spetumlike
on either
side,
which often terminated

351
in
monsters' heads, the mouths

of which formed holders, such as are found for pencils in a pair of compasses, into which were inserted the ends of slow matches for firing a
cannon, the remainder of the matches being wound round the haft socket. Before the invention of the linstock, which dates from about the middle of
the
XVIth
if
halberd
century, the gunner had to throw aside his match to seize his illustrate a linstock from the collection of suddenly attacked.
We
the of
Due de Dino, which

The
pike in
its
is
now
in the
Metropolitan
Museum
New York
(Fig. 1423).
various forms was essentially the infantry weapon from quite the middle of the XVth century until the accession of George I. It is mentioned as early as 1466 in the
"
Ordinances" made by the " Erie of Worcester commanded to bee observed in all manner of Justes of Peaces Royall." In the early Carolean days an adaptation of the "Morrice" or
"Moorish" long pike of the first part of the XVIth century can
century one reads of the pike being sixteen feet in length, with heads of the best steel and a stave of ash, reinforced with bands of iron within four feet of the head, the better to resist a sword cut.
quarter of the XVI Ith century pikes occasionally reached the extraordinary length of twenty feet, suddenly to diminish again with the end of the century
be noticed. In the middle of the
XVI Ith
Towards the
third
nothing more serviceable than the spontoon of the sergeant, which was carried as late as Waterloo. Meyrick quotes a late XlVth century document in which the name
into
Fig. 1423
Linstock head
Italian, late
" Lanceam, scutmn et spatem, sive spontoon is mentioned ."; but we do not know what the spontoon of spontonem
:
. .
tury.
javelin of the latter part of the XVIth and of the Museum, New early years of the XVI Ith centuries can hardly be regarded as York a weapon employed in actual warfare: its use was relegated " to ceremonial and sporting purposes. " Javelin men formed the escort of a sheriff of a county in those days, just as halberdiers form his escort now. In the famous 1547 inventory of the royal stores and habiliments of
tion,
XVIth cenEx Dino CollecMetropolitan
that early date
was
like.
The
and palaces throughout the kingdom, to which we have so often alluded, we find the following mention of javelins: "Item, ten javelins with brode heddes partely guilte, with longe brassell staves, garnisshed with vellet [velvet] and tassels of silke. Javelyns with staves trymed
in the arsenals
war
352

with white, greene blacke silke and fustayne." to have been weapons for ceremonial purposes.
the whole of the
XVIIth CENTURIES
These
In
certainly appear
XVIth
at full
when galloping
is
Spain, throuj^^hout the sport of castinj^ the javelin at a target century, speed was much practised by the nobility, and it
probable that there
may have
been a sport of the same kind
in
this
country.
END OF VOLUME
IV
353
LONDON: CHARLES WHITTINGHAM AND GRIGGS (PRINTERS), LTD. CHISWICK PRESS, TOOKS COURT, CHANCERY LANE.
403
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF
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A RECORD OF

EUROPEAN ARMOUR AND ARMS

EUROPEAN ARMOUR AND ARMS

GUY FRANCIS LAKING,

LATE KEEPER OF THE KING'S ARMOURY

WE NOW TERM THE GREENWICH

ARMOUR MADE FOR ENGLAND

parts of suits that

suits or parts of suits

plain Maximilian, the fluted

Maximilian, the grotesque

EUROPEAN ARMOUR AND ARMS

Head-pieces of the Greenwich school Church helmets Tilt-

burgonet, and as to the origin of the

The evolution of the

The early XVI Ith century sword-rapier

use from the middle of the

breastplates, from an Italian drawing.

Gauntlets, from the armour of Thomas Ratcliffe, Earl of Sussex,

Metropolitan Museum, New York Earle OF Sussex." Jacobe

Parts of the armour of Lord North, late

Burgonet, third quarter

......... ....... ........... .......... ...........

EUROPEAN ARMOURAND ARMS

front; (d) back Portion of the left elbow-cop before restoration

The Sir J. Scudamore New York

Museum, New York

EUROPEAN ARMOUR AND ARMS

Helmet, German, about 1515-20.

Collection: Prince Ladislaus Odes-

Helmet, Helmet, Helmet, Helmet,

about 1550. Musee d'Artillerie German, 1550-60. Collection: Mr.

Helmet, for field or tilt wear, German, about 1560.

Helmet, made solely for

............ ...... ...........

th.ting, German, about

Tournament helmets made for Charles

Royal Armoury, Madrid Collection: Mr. F. Joubert

Tilting helmet, German, about 1545-60. Collection: Mr. S. J. Whawell

Helmet, Italian, about 1570-80

Mess of the R.A.M.C.

From Michael Angelo's tomb of Lorenzo

Back view of the head of Cellini's Perseus.

Burgonet, North Italian, about From a drawing by L eonardo da

Museum, New York

EUROPEAN ARMOUR AND ARMS

NATURE Right cuissard, from a suit MARK OF the NeGROLI

the MusfiE d'Artillerie, showing the

Widener, Philadelphia The same front view with visor raised

Skull-piece of a burgonet, by L. Picinino.

Burgonet, by L. Picinino, about 1,560 Burgonet, by L. Picinino, about 1560.

Collection: Mr. D. M. Currie

Museum, New York

Burgonet, Italian, about 1580 Burgonet, showing the evolution 1600

the cabasset-morion, about 1580.

Burgonet, probably by L. Kolman of Augsburg, about 1530.

Collection: Stibbert, Florence

Burgonet, German, dated 1546.

of slashed leather, late

EUROPEAN ARMOUR AND ARMS