Armour & Weapons Part 2

[Ill.u.s.tration: PLATE III

1. Sir John d'Aubernoun, 1277, Stoke D'Abernon, Surrey 2. Sir Robt. de Setvans, 1306, Chartham, Kent 3. A member of the de Bacon family, c. 1320, Gorleston, Suffolk 4. Sir John D'Aubernoun, 1327 Stoke D'Abernon, Surrey 5. William de Aldeburgh, c. 1360, Aldborough, Yorks 6. A Knight, c. 1400, Laughton, Lincolns.h.i.+re.]

After 1325 ailettes are rarely met with. On No. 4 of Plate III these details seem to be advanced in some points, and are shown with the methods of attaching them to the wearer. The Rerebrace is strapped over the mail, and the disc at the bend of the Coude or elbow-piece is held in place by Aiguillettes or laces--called at a later period Arming-points. The poleynes overlap the jambs, and so cover the junction of the two pieces, and the latter are held to the leg with straps. The Solerets are among the earliest examples of a defence of laminated plates, that is, of strips of metal riveted upon leather in order to give more ease of movement than would be possible with a solid plate. The Vambrace is worn under the sleeve of the hauberk, and not, as in the preceding example, over the mail. This figure is especially interesting because it shows the different garments worn with the armour of this period. Above the knees appears the tunic; over this comes the hauberk of mail, in this instance banded mail; over the hauberk are shown the Upper Pourpoint, a quilted garment, and, above this, the surcoat, or, as this variety is called, the Cyclas. The difference between the surcoat proper and the cyclas is that the former is of even length all round, while the latter is shorter in front than behind (see also Fig. 14). The coif of mail has now given place to the Camail, which does not cover the head, but is attached to the helmet, and is not joined to the hauberk, but hangs over the cyclas.

[Ill.u.s.tration: FIG. 13. Gulielmus Berardi, Florence, 1289.]

[Ill.u.s.tration: FIG. 14. Bib. Nat., Paris, _Tristan and Iseult_, fourteenth century.]

In the next example (Plate III, 5) we find the mail still worn on the legs and arms, but on the latter the vambrace and the coude plate seem to be hinged in the manner adopted during the period of full armour. The upper part of the leg is protected by studded pourpointerie, which was frequently employed as being of more convenience on horseback. These thigh defences were called the Cuisses. The Bascinet is shown and also the short surcoat or Jupon.

The bra.s.s of an unknown knight (Plate III, 6) is typical of what has come to be known as the 'Camail' period. The arm-and leg-pieces completely enclose the limb and are fastened with hinges and straps as in the later periods. The gauntlets show the Gadlings, or knuckle-k.n.o.bs, which are a marked feature of this period, and the whole suit is richly decorated with engraved borders. Some writers divide the Transition Period of armour into 'Surcoat', 'Cyclas', 'Jupon', and 'Tabard'. This, however, seems unnecessary if we are considering only the development of defensive armour, and not the whole question of costume. The camail is so marked a detail of the knightly equipment that it may reasonably be used to describe the fas.h.i.+on in armour from about 1360 to 1405. In this example the figure is clad in complete plate, though the hauberk is worn beneath, as may be seen at the lower edge of the jupon and also in the '_vif de l'harnois_', or portion of the body at the armpit, which was unprotected by plate. In some instances this vital spot was protected by a circular, oval, crescent-shaped, or square plate attached by laces, which modern writers call the Rondel, but which Viscount Dillon, in a most interesting article, proves to have been the Moton or Besague[15] (Fig. 15).

The effigy of the Black Prince at Canterbury is a good example of the armour of this period, but it is interesting to note that, while the monumental bra.s.ses frequently give such details as straps, buckles, &c., this effigy shows no constructional detail whatever. We find that in Spain there were minute regulations drawn up as to the manner in which a deceased warrior might be represented on his tomb. The details of sheathed or unsheathed sword, helm, spurs, &c., all had some significant reference to his life and achievements.[16] It is almost superfluous to point out that those details which referred to the knight's captivity, or the fact that he had been vanquished, were more honoured in the breach than in the observance.

[Ill.u.s.tration: FIG. 15. Bra.s.s of Sir T. de S. Quentin, Harpham, Yorks, 1420.]

[Ill.u.s.tration: FIG. 16. Knightly figure in Ash Church, Kent, fourteenth century.]

[Ill.u.s.tration: FIG. 17. Bib. Nat., Paris, _t.i.te-Live_, 1350.]

The armour of this period was often richly decorated with engraving, as may be seen on the bra.s.s to an unknown knight at Laughton, Lincs., and also on the monument to Sir Hugh Calverley at Bunbury, Ches.h.i.+re. Of the jupon, King Rene, in his _Livre des Tournois_, about the year 1450, writes that it ought to be without fold on the body, like that of a herald, so that the cognizance, or heraldic blazon, could be better recognized. The jupon of the Black Prince, preserved at Canterbury and admirably figured in _Monumenta Vetusta_, vol. vii, is embroidered with the Royal Arms, and is quilted with cotton padding. So general is the use of the jupon at this period that it is a matter of some conjecture as to what form the body armour took that was worn under it. The effigy of a knight in Ash Church, Kent (Fig. 16), elucidates this mystery and shows, through openings of the jupon, horizontal plates or splints riveted together. In Fig. 17 we see these plates worn without the jupon. The term Jazeran is often applied to such armour.

[Ill.u.s.tration: FIG. 18. _a._ The Camail attached to the helm. _b._ The Camail showing the staples.]

[Ill.u.s.tration: FIG. 19. Bib. Nat., Paris, _t.i.te-Live_, 1350.]

The camail, or hood of mail, which we have before referred to, was separate from the hauberk, and during the fourteenth century was worn over the jupon. It was attached to the bascinet by Vervelles or staples which fitted into openings in the helmet. A lace was pa.s.sed through these staples, as is shown on Fig. 18. From a French ma.n.u.script of the early fifteenth century (Fig. 19) we see how the camail was kept from 'riding'

over the shoulders. In the little wooden statuette of St. George of Dijon, which is a most useful record of the armour of this period, we find that, in addition, the camail is fastened to the breast with aiguillettes.

The Great Heaume, or helm, of the fourteenth century differs but little from those of the late thirteenth century which were noticed in a preceding chapter. The shape was either of the sugar-loaf order or a cylinder surmounted by a truncated cone (Fig. 20). Notable examples of actual specimens in England at the present day are the helms of Sir Richard Pembridge at Hereford Cathedral and the helm of the Black Prince, surmounted by a crest of wood and cuirbouilli, preserved at Canterbury. In an Inventory of Louis Hutin, made in 1316, we find: 'ii heaummes d'acier, item v autres dans li uns est dorez.' This seems to suggest that the gilded helm was of some other material than steel, possibly leather. It is rare to come across constructional detail in illuminations, but the ill.u.s.tration (Fig. 21) from a French ma.n.u.script of about the year 1350 shows a method of attaching the helm to the wearer's body. In the preceding chapter we noticed the chain used for this purpose on the Trumpington bra.s.s.

[Ill.u.s.tration: FIG. 20. Fourteenth-century helm, Zeughaus, Berlin.]

[Ill.u.s.tration: FIG. 21. Bib. Nat., Paris, _t.i.te-Live_, 1350.]

The most popular of the light helmets at this period was the Bascinet. It appears on nearly every monumental bra.s.s that depicts a military figure, and is an essential part of that style of equipment known as the 'camail'.

The later form of bascinet has a movable visor which is known among armour collectors as the 'pig-faced' bascinet (Plate V). Sometimes the hinge is at the top, and sometimes, as in No. 2 of this plate, the visor is pivoted at the sides. Froissart calls the visor 'carnet' and 'visiere'. In the Bohun Inventory, before referred to, are given: 'ii bacynettes, lun covert de quir lautre bourni.' This shows that while some helmets were of polished metal, others were covered with leather, and indeed silk and velvet as fancy dictated. Frequent references to these 'covers' for helmets occur in Inventories and Wills. The helmet and other portions of the suit of plate armour were sometimes tinned to prevent rust, as is shown in one of the Dover Castle Inventories of 1361:--'xiii basynetz tinez.' Sometimes, in the case of Royalty or princes of rank, the bascinet was encircled with a fillet or crown of gold and gems. Among the payments of Etienne de Fontaine, in 1352, are mentioned 110 crowns for 'quarente grosses perles pour garnir le courroye du basinet de Monsieur le Dauphin'.

The Orle, or wreath worn turban-wise round the bascinet, is sometimes shown, as on Fig. 22, of a decorative nature. It is supposed by some writers to have been devised to take the pressure of the great helm from the head, for the helm was often worn, as in the preceding century, over a lighter headpiece. From the usual position of the orle, however, and from the fact that it is invariably shown highly decorated and jewelled, this explanation can hardly hold good, for a padding worn as shown in the ill.u.s.tration would not be of much service in keeping off the pressure of the helm, and of course the jewelled decoration would be destroyed at once. Another theory is that the orle was made by wrapping the Lambrequin or Mantling--which hung from the back of the helmet and which is still used in heraldic drawings--much in the same manner as the modern puggaree is worn in India. In this ill.u.s.tration appears also the gorget of plate that was worn over the throat and chin with the bascinet.

[Ill.u.s.tration: PLATE IV

_Photograph by Hauser & Menet_

Jousting armour of Charles V. Madrid.]

[Ill.u.s.tration: FIG. 22. The Orle, from the monument of Sir H. Stafford, Bromsgrove, Kent, 1450.]

The s.h.i.+elds of the fourteenth century present an infinite variety in shape and decoration. The heraldic blazoning has by this time been systematized into somewhat of a science, which in Germany especially was carried to extravagant extremes. The long kite-shaped s.h.i.+eld is to be found in records of the period, but the more common forms were the short pointed s.h.i.+eld as shown on Plate III, and that which was rounded at the lower edge. Frequently the s.h.i.+eld is represented as 'bouche', or notched, at the top right-hand corner, to enable the wearer to point his lance through this opening without exposing his arm or body to attack. In the Inventory of Louis Hutin are mentioned 'iii ecus pains des armes le Roy, et un acier', which shows that the s.h.i.+eld was sometimes made of steel, though usually it was fas.h.i.+oned of wood and faced with leather, or of cuirbouilli. In a transcript of Vegecius (Brit. Mus. Roy. MS. 18. A. xii) the young knight is advised to have 'a shelde of twigges sumewhat rounde'.

The s.h.i.+eld of the Black Prince at Canterbury is pointed at the lower edge, and is made of wood faced with leather, on which are set out the Royal arms in gesso-duro or plaster relief.

CHAPTER III

THE WEARING OF ARMOUR AND ITS CONSTRUCTIONAL DETAILS

Before proceeding to examine the suit of Full Plate, with all its interesting details and differences as exemplified in the various armouries of England and Europe, it will be well to make clear the main principles which governed the manufacture of such armour. We should remember that the whole history of our subject is one long struggle of defensive equipment against offensive weapons. This is brought out clearly at the present day in the Navy, where the contest between gun and armour-plating is the dominant factor in naval construction. As the weapons of the Middle Ages became more serviceable, the armour was increased in weight. The Longbow and the Crossbow marked distinct periods in the development of defensive armour; for so important a factor did these weapons become, especially the latter, that they were used for testing the temper of the metal, large or small weapons being used as occasion demanded. Those writers who are p.r.o.ne to generalize upon such subjects tell us that the invention of gunpowder sounded the knell of defensive armour, but this is by no means accurate, for guns were used in sieges as early as 1382, and, as we shall find farther on in this chapter, the armour of the late sixteenth century was proved by pistol shot. The result of the improvement of firearms was that for many years armour became heavier and thicker till the musket was perfected, and then it was found that even highly-tempered steel would not resist the impact of a bullet.

It is a safe a.s.sertion to make that a full suit of plate armour at its finest period--the fifteenth century--is the most perfect work of craftsmans.h.i.+p that exists.

[Ill.u.s.tration: FIG. 23.]

[Ill.u.s.tration: FIG. 24. Maximilian breastplate and taces.]

[Ill.u.s.tration: FIG. 25. Coude or Elbow-cop.]

This a.s.sertion is not made without fully considering the real value of such work, which must fulfil all those essentials without which no true work of craftsmans.h.i.+p can have any merit. The first of these is that the work should fulfil its object in the best possible manner; secondly, that it should be convenient and simple in use; thirdly, that it should proclaim its material; and fourthly, and this is by no means the least important, that any decoration should be subservient to its purpose. To take our axioms in the order given, it may appear to the casual student that if armour were sufficiently thick it would naturally fulfil its primary reason for existence. But we find, on careful examination of plate armour, that there are other considerations which are of equal, if not greater importance. Of these the most noticeable is the 'glancing surface'. It is somewhat difficult to exemplify this by a line-drawing, though it is easy to do so with an actual example. Referring to the Maximilian breastplate (Fig. 24), we find that a lance, the thrusting weapon much favoured in the fifteenth and sixteenth centuries, would, on striking the breast be deflected along the grooved channel nearest to the point of impact till it reached the raised edge either at the top or at the sides, when it would be conducted safely off the body of the wearer.

The same surface is to be noticed on all helms and helmets after the twelfth century, the rounded surfaces giving no sure hold for cutting or thrusting weapons. The Coude (Fig. 25) shows this same glancing surface used to protect the elbow, and, again, the fan-shaped plate on the outside of the knee effects the same result (see Frontispiece).[17] The great jousting helms are so constructed that the lance-point should glance off them when the wearer is in the proper jousting position, that is, bent forward at such an angle that the eyes come on a level with the ocularium or vision slit (Plate V, 5). These helms are also made of plates varying in thickness as the part may be more exposed to attack. The Great Helm in the possession of Captain Lindsay of Sutton Courtenay, near Abingdon, has a skull-plate nearly a quarter of an inch thick, for, in the bending position adopted by the wearer, this portion of the helm would be most exposed to the lance. The back-plate is less than half that thickness.

This helm is one of the heaviest in existence, for it weighs 25 lb. 14 oz.

Again, we may notice the overlapping Lames or strips of steel that are so frequently used for Pauldron, Rerebrace, Vambrace, Soleret, and Gauntlet; all present the same surface to the opposing weapon, and, except in the case of the Taces, where the overlapping from necessity of form must be in an inverse direction, the chance of a weapon penetrating the joints is reduced to a minimum (Fig. 23). A portion of the pauldron which is designed for this glancing defence, and for this only, is the upstanding Neck- or Shoulder-guard which is so generally described as the Pa.s.se-guard. It is curious, with the very definite information to hand (supplied by Viscount Dillon in the _Archaeological Journal_, vol. xlvi, p. 129), that even the most recent writers fall into the same mistake about the name of this defence. s.p.a.ce will not admit of quoting more fully Viscount Dillon's interesting paper; but two facts cited by him prove conclusively that the pa.s.se-guard is quite another portion of the armour. In the Tower Inventory of 1697 appears the entry, 'One Armour cap-a-pe Engraven with a Ragged Staffe, made for ye Earle of Leisester, a Mainfere, Pa.s.sguard and Maineguard and Gantlett.' Now it is hardly reasonable to suppose that this ridge on the pauldron should be specially mentioned as the Pa.s.se-guard without any notice of the pauldron itself. In the Additional Notes to the above article Viscount Dillon gives, from a List of Payments made in connexion with jousts held on October 20, 1519, '9 yards of Ches.h.i.+re cotton at 7_d._ for lining the king's pasguard.' That the neck-guard to which we refer should need lining on the inside, where it did not even touch the helmet, we may dismiss at once; and that the lining should be on the outside is of course absurd. As far as can be gathered from recent research the pa.s.se-guard is a reinforcing piece for the right elbow, used for jousting. It was lined to protect the ordinary arm defence underneath from being scratched, and also to lessen the shock to the wearer if it were struck. It is to be hoped, from this reiteration of Viscount Dillon's researches, that at any rate one of the many errors of nomenclature in armour may be corrected.

[Ill.u.s.tration: PLATE V

1. Bascinet from the tomb of the Black Prince, Canterbury, XIVth. cent. 2.

Visored Bascinet from the statuette of S. George, Dijon, XIVth. cent. 3.

Salade, Royal Armoury, Turin, XVth. cent. 4. Salade with visor and beavor, Musee de la porte de Hal, Brussels, XVth. cent. 5. The Brocas Helm, Rotunda Woolwich XVth.-XVIth. cent. 6. Armet, Royal Armoury, Turin 7.

Burgonet, Brit. Mus. XVIth. cent. 8. Burgonet and Buffe, Royal Armoury, Turin XVIth. cent. 9. Morion, Brussels, XVIth. cent. 10. Caba.s.set, Turin, XVIth. cent. 11. Lobster-tailed Pot helmet, Turin, XVIIth. cent.]

With regard to the thickness of plate armour, we should remember that it was forged from the solid ingot, and was not rolled in sheets as is the material of to-day from which so many forgeries are manufactured. The armourer was therefore able to graduate the thickness of his material, increasing it where it was most needed, and lessening it in those parts which were less exposed.

With regard to the proving of armour an article in _Archaeologia_, vol.

li, also by Viscount Dillon, is of great interest as showing the indifferent skill of the English ironsmiths of the sixteenth century. In 1590 a discussion arose as to the quality of the English iron found in Shrops.h.i.+re as compared to the 'Hungere' iron which came from Innsbruck.

After some delay Sir Henry Lee, Master of the Tower Armouries, arranged a test, and two breastplates were prepared, of equal make and weight. Two pistol charges of equal power were fired at the test breastplates, with the result that the foreign armour was only slightly dented, while the English plate was pierced completely, and the beam on which it rested was torn by the bullet. A bascinet in the Tower, which belonged to Henry VIII, bears two indented marks, signifying that it was proof against the large crossbow. In the Musee d'Artillerie in Paris, a suit made for Louis XIV bears proof marks which are treated as the centres for floriated designs (Plate VIII). No excuse need be offered for thus borrowing from papers by Viscount Dillon and other writers in _Archaeologia_ and the _Archaeological Journal_, for these publications are not always at hand to those interested in the subject of armour and equipments. They are, however, indispensable for careful study; for they contain reports of the most recent discoveries and investigations of the subject, and are written, for the most part, by men whose expert knowledge is at once extensive and precise.

[Ill.u.s.tration: PLATE VI

_Photograph by Viscount Dillon._

Engraved suit of armour given to Henry VIII by the Emperor Maximilian.

Tower.]

Another detail of importance in connexion with the protective power of armour occurs in the great jousting helms, which invariably present a smooth surface on the left side, even when there may be some opening, for ventilation or other purposes, on the right. The reason for this was that the jouster always pa.s.sed left arm to left arm with the lance pointed across the horse's neck. It was therefore important that there should be no projection or opening on the left side of the helm in which the lance-point could possibly be caught.

We next turn our attention to Convenience in Use. Under this head the armourer had to consider that the human body makes certain movements of the limbs for walking and riding, or fighting with arm and hand. He had so to construct the different portions of the suit that they should allow of all these movements without hindrance; and at the same time he had to endeavour to protect the body and limbs while the movements were taking place. The arrangements for pivoting elbow- and knee-joints need scarcely be detailed; for it will be seen by a glance at any suit of plate armour how the cuisse and jamb are pivoted on to the genouilliere, and move with the leg to a straight or bent position without allowing these plates to escape from under the genouilliere. The coude is sometimes pivoted in the same manner, but more often it is rigid and of such circ.u.mference that the arm can bend within it and yet be very adequately protected. In the overlapping lames or strips of metal which give ease of movement to the upper arm, the hands, the waist, and the foot, we find that much careful work and calculation was needed to ensure comfort to the wearer. On the foot, the toepiece and four or more arches of metal overlap upwards on to a broader arch, while above this three or more arches overlap downwards, thus allowing the toe-joint and ankle to be bent at the same time (Fig.

26). In a suit in the Tower, made for Prince Henry, son of James I, all the arches of the soleret overlap downwards. This points to a certain decadence in the craftsmans.h.i.+p of the armourer of the period, though the excuse might be offered for him that the suit was intended only for use on horseback. There are generally one, two, or more of these movable lames joining the genouilliere to the jamb, and above this the cuisse to the genouilliere to give greater flexibility to the knee fastenings. The separate arm- and leg-pieces are, when made in two halves to encircle the limb, hinged on the outside and closed with strap and buckle, or with locking hook or bolt on the inside. This, of course, is to ensure greater protection to these fastenings, especially on horseback. Higher up again we get the tuilles or taces, which, from the fact that to adapt themselves to the human form they must narrow at the waist and spread out below, overlap upwards. From the taces are hung the ta.s.sets, with strap and buckle, which give increased protection to the upper leg, and yet are not in any way rigid. When the ta.s.sets are made of more than one plate they are attached to each other by a most ingenious arrangement of straps and sliding rivets. On the inner edge of each plate the rivets are attached to a strap on the under side; but the outer edge, requiring more compression of the lames together, is furnished with rivets fixed firmly in the uppermost plate and working loose in a slot in the back plate, thus allowing an expansion or contraction of half an inch or more to each lame. It is somewhat difficult to explain this ingenious arrangement in words, but Fig. 27 will show how the straps and rivets are set. When the ta.s.sets were discarded about the end of the sixteenth century the cuisses were laminated in this way from waist to knee.