Armour & Weapons Part 3

[Ill.u.s.tration: PLATE VII

1. Pa.s.se-guard 2. Grand-guard 3. Tilting cuisse 4. Half suit for the Stechzeug, Nuremberg 1450-1500 a. Polder mitton b. Lance rest c. Queue]

[Ill.u.s.tration: FIG. 26. Soleret.]

[Ill.u.s.tration: FIG. 27. Method of using sliding rivets.]

The gauntlet is generally found with a stiff cuff, and from wrist to knuckles the plates in narrow arches overlap towards the arm, where they join a wider plate which underlaps the cuff. The knuckle-plate is usually ridged with a rope-shaped crest or with bosses imitating the knuckles. The fingers are protected by small plates, from four on the fourth finger to six on the second finger (in some examples there are more or less), which overlap from knuckle to finger-tip. The thumb is covered in like manner, but has a lozenge-shaped plate to connect it to the cuff. This metal hand-covering was sewn on to a leather glove or attached to it with leather loops (Fig. 28). The vambrace is generally rigid, either a solid tube or hinged on the outside and fastened on the inside by straps or hooks. It is held to the lower edge of the coude by a rivet. The lower portion of the rerebrace is also tubular, while the upper portion, where it joins the pauldron, is often laminated, with the plates overlapping, downwards as a rule, though there are instances of these plates overlapping upwards. They are joined in the same way as the laminated ta.s.sets by a riveted strap on the inner side, and by sliding rivets at the back, thus giving the arm freedom of movement forwards in the direction most needed, but less freedom towards the back.

These sliding rivets working in slots have come to be called 'Almain'

rivets from the fact that the Almain rivet, a light half suit of armour, was put together to a great extent by this method. These suits will be referred to later in the chapter.

[Ill.u.s.tration: FIG. 28. Gauntlet.]

[Ill.u.s.tration: FIG. 29. Turning 'lock-pins'.]

[Ill.u.s.tration: FIG. 30. Gorget.]

The Pauldron is hung on the shoulder by a strap from the gorget or the breastplate, or it is pierced with a hole which fits over a pin fixed in one of these portions of the armour. In most suits of plate of the fifteenth and early sixteenth century that portion of the pauldron which covers the breastplate is larger on the left side than on the right. The reason for this is that the position of the lance when held 'in rest', that is couched for the charge, necessitates a certain curtailment of the front plate of the pauldron, and, at the same time, the left arm being held rigid at the bridle, and being exposed to the attacking weapon, requires more protection than does the right, which, when using the lance, was guarded by the Vamplate or metal disc fixed to the lance above the Grip.

Breast- and back-pieces are held together on the shoulders and sides by straps, but the lames of the taces, and in some cases the breast and back themselves, are fastened with turning pins which play an important part in holding the suit together (Fig. 29). The Gorget (Fig. 30) is made in two halves, each composed of a single plate or, sometimes, of two or three horizontal lames. The two portions are united by a loose-working rivet on the left side and are joined by a turning pin on the right. The gorget was worn either over or under the breast- and backplates.

Perhaps the most ingeniously contrived suit in existence, which completely protects the wearer and at the same time follows the anatomical construction of the human body, is that made for Henry VIII for fighting on foot in the lists. It is numbered xxviii in the Armoury of the Tower.

There are no parts of the body or limbs left uncovered by plate, and every separate portion fits closely to its neighbour with sliding rivets and turning pins to give the necessary play for the limbs. It is composed of 235 pieces and weighs 93 lb.

The wearing of the bascinet, salade, burgonet, and like helmets needs no detailed description. In the preceding chapter we noticed the method of attaching the camail to the bascinet. When the great helm was made a fixture in the fifteenth century, as distinct from the loose or chained helms of preceding periods, it was either bolted to the breast and back, as on Plate VII, or it was fastened by an adjustable plate which shut over a locking pin, as shown on Plate V, 5, and a somewhat similar arrangement at the back, or a strap and buckle, held it firmly in place, while if extra rigidity was needed it was supplied by straps from the shoulders to the lugs shown in the drawing of the Brocas Helm on Plate V. The Armet, or close helmet, fits the shape of the head to such an extent that it must be opened to be put on. This is arranged by hingeing the side plates to the centre, and, when fixed, fastening them with a screw at the back to which a circular disc is added as a protection to this fastening (Fig. 31). The armet shown on Plate V opens in the front and when closed is fastened with a spring hook. The different parts of the armet are the Ventail, A, and Vue, B, which together make the Visor; the Skull, C; and the Beavor, D (Plate V, 6).

Having now arrived at some understanding of the construction of the suit of armour we will pa.s.s on to the wearing of the suit. A man could not wear his ordinary clothes under his armour; the friction of the metal was too great. In spite of the excellence of workmans.h.i.+p of the armourer any thin substance was bound to be torn, so a strong fabric was chosen which is called in contemporary records Fustian. Whether it at all resembled the modern fabric of that name it is difficult to determine, but certainly the wearing powers of this material or of corduroy would be admirably adapted for the purpose. Chaucer writes in the Prologue to the _Canterbury Tales_, line 75:

Of fustyan he wered a gepoun Aile bysmoterud with his haburgeoun.

This would refer to the rust-stains that penetrated through the interstices of the mail. In Hall's _Chronicles_ (p. 524) is mentioned a levy of troops ordered for the wars in France in 1543, for which it was enjoined: 'Item every man to hav an armyng doublet of ffustyean or canvas', and also 'a capp to put his scull or sallet in'. These last were coverings for the helmets which we have noted on page 42. The helmets had linings, either riveted to the metal or worn separately as a cap. The tilting helm was provided with a thick padded cap with straps to keep it in its place. Some of these caps exist in the Museum at Vienna.

[Ill.u.s.tration: FIG. 31. Armet.]

King Rene, in his _Livre des Tournois_, advises a pourpoint or padded undergarment to be put on under the body armour, 'stuffed to the thickness of three fingers on the shoulders for there the blows fall heaviest.' It seems that in Brabant and the Low Countries the blows fell heavier, or that the combatants were less hardy, for he advises for them a thickness of four fingers, filled with cotton. Viscount Dillon mentions in his Armour Notes[18] the fact that a 'stuffer of Bacynetts' accompanied Henry V to Agincourt. He also quotes a letter from James Croft to Cecil on July 1, 1559, which states that a man cannot keep his corselet and pay for the wear and tear of his clothes due to the rubbing of the body armour, under 8_d._ per day.

Sir John Smith, in his _Animadversions_ (1591), writes: 'No man should wear any cut doublets, as well in respect that the wearing of armour doth quickly fret them out, and also by reason that the corners and edges of the lames and joints of the armour do take such hold upon such cuttes as they do hinder the quick and sudden arming of men.'

An interesting description of the arming of a man, ent.i.tled, '_Howe a manne schall be armed at hys ese when he schall fighte on foote_,' is preserved in the _Life of Sir John Astley_ (a ma.n.u.script in the possession of Lord Hastings).[19] The knight is first dressed in a doublet of fustian, lined with satin, which is cut with holes for ventilation. This satin was to keep the roughness of the fustian from the wearer's body; for he wore no s.h.i.+rt under it. The doublet was provided with gussets of mail, or Vuyders, attached under the armpit and at the bend of the elbow by Arming Points or laces. These mail gussets were to protect the parts not covered by the plate armour. The 'Portrait of an Italian n.o.bleman' by Moroni, in the National Gallery, shows the figure dressed in this arming doublet. A pair of thick worsted hose were worn, and shoes of stout leather. It must be noticed here that the soleret, or sabaton as it is sometimes called, covered only the top of the foot, and had understraps which kept it to the sole of the shoe. First the sabatons were put on, then the jambs, genouilliere and cuisses, then the skirt or breech of mail round the waist. This is sometimes known as the Brayette. Then the breast-and backplates were buckled on with the accompanying taces, ta.s.sets, and Garde-rein or plates to protect the loins. After this the arm defences, and, if worn over the breastpiece, the gorget; and, finally, the helmet completed the equipment. The sword was buckled on the left side and the dagger on the right.

The armour for jousts and tourneys was much heavier than the Hosting or War harness. From the fact, which has been previously noticed, that the combatants pa.s.sed each other on the left, this side of the armour was reinforced to such a degree that in time it presented a totally different appearance from the right side (see Plate VII). The weight of jousting armour was so great that it was impossible for the wearer to mount without a.s.sistance. De Pluvinel, in his _Maneige Royal_ (1629), gives an imaginary conversation between himself and the King (Louis XIV) as follows:--

_The King._ 'It seems to me that such a man would have difficulty in getting on his horse, and being on to help himself.'

_De Pluvinel._ 'It would be very difficult, but with this arming the matter has been provided for. In this manner at triumphs and tourneys there ought to be at the two ends of the lists a small scaffold, the height of a stirrup, on which two or three persons can stand, that is to say, the knight, an armourer to arm him, and one other to help him. The knight being armed and the horse brought close to the stand, he easily mounts him.'

Reference has been made to the fact that modern writers call the sliding rivet the 'Almain' rivet. Whenever mentioned in Inventories and such-like doc.u.ments, the Almain rivet stands for a suit of light armour. Garrard, in his _Art of Warre_ (1591), distinctly says, 'The fore part of a corselet and a head peece and ta.s.ses is the almayne rivet.' Among the purchases made on the Continent by Henry VIII in 1512 may be noted 2,000 Almain rivets, each consisting of a salet, a gorget, a breastplate, a backplate, and a pair of splints (short taces). In the Inventory of the goods of Dame Agnes Huntingdon, executed at Tyburn for murdering her husband in 1523, we find 's.e.x score pare of harness of Alman rivets'. The 'pare', of course, refers to the breast- and backplates. The word Alman, Almaine, or Almain, shows that the invention of this light armour and the sliding rivets which were used in its construction came from Germany.

That the wearing of armour caused grave inconvenience to some, while to others it seems to have been no hindrance at all, we may gather from the following historical incidents. In 1526 King Louis of Hungary, fleeing from the Battle of Mohacz, was drowned while crossing the Danube because of the weight of his armour. On the other hand we find that Robert de Vere, Earl of Oxford, when forced to fly at the Battle of Radcot Bridge, escaped easily by swimming the river to safety in full armour. We should remember that the weight of plate armour was less felt than that of mail, because the former was distributed over the whole body and limbs, while the latter hung from the shoulders and waist alone. King Henry V, in courting Queen Katharine, says:--'If I could win a lady at leapfrog, or by vaulting into my saddle with my armour on my back,' which seems to imply that this feat was at any rate a possibility. Oliver de la Marche describes Galliot de Balthasin in 1446 as leaping clear out of his saddle 'Arme de toute'. We may safely consign Sir Walter Scott's description of the feasting knights to the realms of poetic licence, for he writes:--

They carved at the meal with gloves of steel And drank the red wine through their helmets barred.

Now if there were two portions of the knight's equipment which would be put off at the first opportunity, and which could be a.s.sumed the most rapidly, they were the helmet and gauntlets. To drink through a visored helmet is a practical impossibility. The word Beavor, which is generally derived from the Italian _bevere_, to drink, has been considered by Baron de Cosson, with far more probability, to be derived from the Old French _baviere_ (originally = a child's bib, from _bave_, saliva).

The cleaning of armour is frequently alluded to in Inventories. In the Dover Castle Inventory of 1344 is mentioned 'i barrelle pro armaturis rollandis'. Chain-mail was rolled in barrels with sand and vinegar to clean it, just as, inversely, barrels are cleaned in the country at the present day by rolling chains in them. The mending and cleaning of armour was of the first importance, and the travelling knight took with him an armourer who was provided with such things as 'oil for dressing my lord's harness, a thousand armyng nayles (rivets) a payre of pynsores, pomyshe (pumice stone), fylles, a hammer and all other stuffe and tools belonginge to an armorer'.[20]

We can gather but little of the methods of the armourers in their work. It was so important a craft that its operations were most jealously guarded, and the term 'Mystery', which was applied to the Trade Gilds of the Middle Ages, can be most fittingly given to that of the armour-smith. In the _Weisskunig_ of Hans Burgkmair, the noted German engraver, appears an interesting woodcut of the young Maximilian in the workshop of Conrad Seusenhofer, the famous armourer. In the text the master-smith is described as being anxious to make use of the 'forbidden art', but the young king replies, 'Arm me according to my own taste, for it is I, not you, who have to take part in the tournament.' What this forbidden art may have been we have no suggestion given us. It seems, from this account, to be more than likely that Seusenhofer possessed some mechanical means for stamping out armour plate; for it goes on to say, 'So this young King invented a new art for warriors' armour, so that in the workshop 30 front pieces and 30 hinder pieces were made at once. How wonderful and skilful was this King!'

A most interesting alb.u.m of designs by one 'Jacobe', who has been identified by the late Herr Wendelin Boeheim as Jacobe Topf, is now, after many vicissitudes, in the Art Library of the Victoria and Albert Museum, South Kensington. From the somewhat nave treatment of the designs they can hardly be considered to be working drawings, but were more probably sketches submitted to the different patrons of the armourer and kept for reference. The Alb.u.m has been reproduced in facsimile, with a preface giving its history and verifying the suits drawn on its pages, by Viscount Dillon, Curator of the Tower Armouries. s.p.a.ce will not admit of more notice of this unique volume. Its author seems to have worked almost entirely for the n.o.bles of the court of Queen Elizabeth; only two of the designs were made for foreigners. Of the famous armourers of Italy, the Missaglias, Negrolis, and Campi; and of the great Colman family, Seusenhofer and Wolf, the master-craftsmen of Germany, we can do no more than mention the names. Experts in armour, like Baron de Cosson and Herr Boeheim, have in the various archaeological journals of England and Germany brought to light many interesting facts about these armourers, but the confines of this handbook do not admit of detailed quotation, nor, indeed, is it necessary to study these details till the primary interest in defensive armour has been aroused. When this has been achieved the student will certainly leave no records unexamined in following to its farthest extremes this most fascinating study.[21]

[Ill.u.s.tration: FIG. 32. Archer wearing jack. From the Beauchamp Pageants, fifteenth century.]

It is almost superfluous to discuss the third of our axioms, namely, that which concerns the confession of material. All armour of the best periods does this to the full. It is only under the blighting influence of the Renaissance that we find metal so worked that it resembles woven fabrics, or, worse still, the human form and features. The limited s.p.a.ce at our disposal precludes us from investigating the various Coats of Fence, or body protections of quilted fabrics with metal, horn, and other materials added. Mention has been made in the chapter on the Transition of the Brigandine, which formed a very serviceable defence without being so unwieldy as the suit of plate. There are several of these brigandines in English and European armouries. These defences weigh as much as 18 lb., and are made of many small pieces of metal. An example in the Tower contains 1,164.[22] Fig. 32, from the Beauchamp Pageants (Cotton MS., Julius E. iv), shows an archer of the year 1485 wearing the jack over a s.h.i.+rt of mail. The Jack was used by the rank and file, and was stuffed and wadded or composed of plates of metal or horn laced together with string between layers of leather or linen.

CHAPTER IV

PLATE ARMOUR (1410-about 1600)

It is so very rare to be able to fix the date of a suit of armour at a particular year that we are forced, in dividing our periods of defensive armour with any degree of minuteness, to have recourse to the records existing in monumental effigies. The earliest bra.s.ses which show the whole suit of plate without camail or jupon are those of one of the d'Eresby family at Spilsby, Lincolns.h.i.+re, and of Sir John Wylcotes at Great Tew, Oxon., both dated 1410. In these bra.s.ses we find that the camail has become the Standard of Mail, or collarette, worn under the gorget of plate. The hauberk is seen beneath the taces and, in the former bra.s.s, in the '_defaut de la cuira.s.se_', or unprotected part at the junction of arm and body. In the Great Tew bra.s.s this part is protected by oval plates which, as we have noticed in a preceding chapter, are called motons or besagues. Hewitt does not seem to have come across these terms in the course of his very minute investigations, but calls them Croissants or Gouchets. He quotes a pa.s.sage from Mathieu de Coucy's _History of Charles VII_ (p. 560) which runs:--'au-dessous du bras at au vif de son harnois, par faute et manque d'y avoir un croissant ou gouchet.' Haines, in his _Monumental Bra.s.ses_, mentions the moton, but a.s.signs this name to a piece of plate rarely met with, shaped to fit under the right armpit only. With the disappearance of the jupon we see the body defence exposed to view.

The breastplate is globular in form, and below the waist we see the taces or laminated strips of plate overlapping each other, which at this early period were attached to a leather lining. As we have seen in the chapter on the Construction of Armour, at a later period these taces were held together by sliding rivets, which allowed a certain amount of vertical play. Plate armour, during the earlier years of the fifteenth century, was naturally in a somewhat experimental state, and we find frequent examples of the old forms and fas.h.i.+ons in contemporary representations. About the year 1440 appears a distinct style, called 'Gothic', which, of all types of defensive armour, is perhaps the most graceful. This term, 'Gothic,' is as inappropriate, in the relation which it bore, to armour as to architecture; but its use is so general that we must perforce adopt it for want of a better. The salient points of Gothic armour are the sweeping lines embossed on its surfaces (Plate VIII). The cuira.s.s is generally made in two pieces, an upper and a lower, which allows more freedom for the body. From the taces are hung Ta.s.sets, ending in a point towards the lower edge. The later form of Gothic breastplate is longer, and the taces fewer in number. Armour was so frequently remade to suit later fas.h.i.+ons, or, from lack of antiquarian interest, so often destroyed, that there is little of this Gothic armour existing in England, except those suits which have been acquired from the Continent by private collectors or public museums. Almost all of them are incomplete, or, if complete, have been restored--particularly the leg armour--at a recent date. Perhaps the finest example of this style is to be found on the 'Beauchamp' effigy in St. Mary's Church, Warwick. s.p.a.ce will not allow of a full account of the doc.u.ments connected with the making of this magnificent figure, which was executed by Will. Austin, a bronze-founder, and Bartholomew Lambespring, a goldsmith, in 1454, fifteen years after the death of the Earl. All these interesting details are given very fully in Blore's _Monumental Remains_.

To students of the constructional side of armour this monument is particularly valuable because all the fastenings, rivets, and straps are conscientiously portrayed, not only on the front, but also at the back.

Charles Stothard, the antiquary, when making drawings of the figure for his work on _Monumental Effigies_, turned it over and discovered this example of the care and technical ability of the makers. The breastplate is short, and consequently the taces are more numerous than when the breastplate is longer. They consist of five lames. From the taces hang four ta.s.sets, two bluntly pointed in front, and two much shorter, and more sharply pointed, over the hip-bones. The taces are hinged at the side for convenience in putting on and off. The coudes are large and of the b.u.t.terfly-wing type, and the sollerets are of normal length. In many of the Gothic suits these sollerets, following the custom in civil dress, were extravagantly long and pointed. This form is called 'a la poulaine', while the shorter kind are known as 'demi-poulaine'.

Some writers are apt to confuse this term 'poulaine' with 'poleyne', the knee-cop used in the earlier days of the Transition Period; it is needless to point out that they are quite distinct. Baron de Cosson has put forward a most interesting theory in connexion with this effigy. He finds a close resemblance between the armour here portrayed and that shown in the picture of St. George, by Mantegna, in the Accademia at Venice. The Earl of Warwick, who is represented on this monument, is known to have been at Milan in his youth, and to have taken part in tournaments at Verona; so it is more than probable that he ordered his armour from the Milanese armourers, of whom the famous Missaglia family were the chief craftsmen, and who made some fine suits of this Gothic style.

[Ill.u.s.tration: PLATE VIII

ARMOUR OF (1) Archduke Sigismond of Tyrol, 1470, (2) Louis XIV of France, 1680.]

The next distinctive style to be noticed is called the 'Maximilian'. It can hardly be said that this new design was evolved from the Gothic, though of necessity there must be a certain similarity between them, at least in constructional detail. It is more likely, when we consider the individuality of the young Maximilian, especially as recorded in Hans Burgkmair's _Weisskunig_, and his interest in every art, craft, and trade, that it was a fas.h.i.+on made, so to speak, to order. The Maximilian Period of armour may be said to last from about 1500 to 1540. It is distinguished by the radiating fluted channels that spread from a central point in the breastpiece, closely resembling the flutings of the scallop-sh.e.l.l (Fig.

24). The main lines of the suit are heavier and more clumsy than those of the Gothic variety. The breastplate is shorter, globose in form, and made in one piece as distinct from the Gothic breastplate, which was generally composed of an upper and lower portion. The pauldrons are larger and the upstanding neck-guards more p.r.o.nounced. The coude and genouilliere are both smaller than in the Gothic suit, and fit more closely to the limbs.

In imitation of the civilian dress the solleret becomes shorter and broader in the toe. This variety is known as the 'bec de cane' or 'bear-paw' soleret. Some writers use the term Sabaton for the foot-defence of this period. This term is found (sabataynes) in the Hastings ma.n.u.script referred to in the preceding chapter. The pauldrons of the Maximilian suit are generally of unequal size; that for the right arm being smaller, to admit of the couching of the lance under the armpit (Fig. 34). The ta.s.sets are made in two or more pieces, connected with the strap and sliding rivet described in the preceding chapter. The fluting on the Maximilian armour is not without practical purpose, for, besides presenting the 'glancing' surface, which has been before referred to, it gives increased strength and rigidity without much extra weight. A modern example of this is to be found in the corrugated iron used for roofing, which will stand far greater pressure than will the same thickness of metal used flat.

[Ill.u.s.tration: FIG. 33. Gothic suit. Turin Armoury.]

[Ill.u.s.tration: FIG. 34. Maximilian suit. Vienna Armoury, 1523.]

It is at this period of the history of defensive armour that we first find traces of that decadence which later on permeated every art and craft with its pernicious poison. It is to be found in the imitating of fabrics and also of the human face in metal. There exist suits of plate in many museums, both in England and on the Continent, in which the puffings and slas.h.i.+ngs of the civilian attire are closely copied in embossed metal, entirely destroying the important glancing surfaces on which we have laid such stress. It is alleged that this fas.h.i.+on in civilian dress was intended to suggest, by the cutting of the material to show an undergarment beneath, that the wearer was a fighting man who had seen rough service. If this be the case it is the more reprehensible that metal should be treated in a similar manner; for hard usage would dent, but it would not tear. A portion of one of these debased suits is drawn on Fig.

42.

It must not be supposed that all armour at this period was fluted. There was still a good deal which had a plain surface, and this plain armour continued to be used after the Maximilian armour had been given up. It may have been that the evil genius of the Renaissance pointed to the plain surfaces as excellent fields for the skill of the decorator, a field which the strongly-marked flutings of the Maximilian armour could not offer. At first this decoration was confined to engraved borders, or, if the design covered the whole suit, it was so lightly engraved that the smooth surface was in no way impaired, though perhaps some of the dignified simplicity of the plain metal was lost. An instance of this proper application of ornament to armour is to be found in the 'Seusenhofer' suit in the Tower (Plate VI), made to the order of the Emperor Maximilian for Henry VIII. It is one of the finest suits of this period in existence. The ornament is lightly engraved all over it, and includes representations of the legends of St. George and St. Barbara. Instead of taces and ta.s.sets the lower part of the body and the thighs are protected by steel Bases made in folds to imitate the skirts worn in civilian dress. It will be remembered that in the preceding chapter a conversation between Seusenhofer and the young Maximilian was quoted, and when we study this suit carefully we feel that the young king did wisely in the choice of his master-armourer. The craftsman's Poincon or mark is to be found at the back of the helmet.

If s.p.a.ce but permitted we might devote many pages to the work of the great armour-smiths as exemplified in the armouries of Madrid and Vienna. It is difficult, at this period of history, to generalize at all satisfactorily.

Each suit is, in many ways, distinct from its neighbour, just as the character and personality of the wearers differed. The young Maximilian's words to Seusenhofer, 'Arm me according to my own taste,' is true of every suit that we examine, for it is evident that each man had his own favourite fas.h.i.+on or, from physical necessity, was provided with some special variation from the usual form. An instance of this may be noted in the Barendyne helm at Haseley Church, near Thame, in which an extra plate has been added at the lower edge of the helm to suit the length of neck of the last wearer.