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diff --git a/old/60767-0.txt b/old/60767-0.txt deleted file mode 100644 index ff4a48d..0000000 --- a/old/60767-0.txt +++ /dev/null @@ -1,12256 +0,0 @@ -The Project Gutenberg EBook of The armourer and his craft from the XIth to -the XVIth century, by Charles ffoulkes - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The armourer and his craft from the XIth to the XVIth century - -Author: Charles ffoulkes - -Release Date: November 23, 2019 [EBook #60767] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE ARMOURER AND HIS CRAFT *** - - - - -Produced by MWS, John Campbell and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - - - - - TRANSCRIBER’S NOTE - - Italic text is denoted by _underscores_. - - Bold text is denoted by =equal signs=. - - Footnote anchors are denoted by [number], and the footnotes have been - placed at the end of each chapter or Appendix. The numbers [376] to - [383] in Appendix C are part of the quoted document, and are not - footnotes. - - A superscript is denoted by ^{xx} or ^x, for example vj^{li} or xv^s - (six pounds or fifteen shillings). - - Basic fractions are displayed as ½ ¼ ⅜ etc; the only other fraction is - one-sixteenth, displayed as 1/16. Currency (shillings and pence) is - displayed as a/b or a/-, for example 4/8 is 4 shillings and 8 pence, - 2/- is two shillings. - - An overline above a or abc for example is shown as [=a] or [=abc]. - - Some minor changes to the text are noted at the end of the book. - - - - -THE ARMOURER AND HIS CRAFT - - - - - UNIFORM WITH THIS VOLUME - - PASTE BY A. BERESFORD RYLEY - - - [Illustration: VENUS AT THE FORGE OF VULCAN. JAN BRUEGHEL AND - HENDRICK VAN BALEN. CIRCA 1600 - - KAISER FRIEDRICH MUSEUM, BERLIN] - - - - - THE ARMOURER - AND HIS CRAFT - - FROM THE XITH TO THE XVITH CENTURY - - By CHARLES FFOULKES, B.Litt.Oxon. - - - WITH SIXTY-NINE DIAGRAMS IN THE TEXT AND THIRTY-TWO PLATES - - - METHUEN & CO. LTD. - 36 ESSEX STREET W.C. - LONDON - - - - - _First Published in 1912_ - - - _Printed in Great Britain_ - - - - - TO THE RIGHT HONOURABLE - - THE VISCOUNT DILLON, Hon. M.A. Oxon. - - V.P.S.A., Etc. Etc. - - CURATOR OF THE TOWER ARMOURIES - - - - -PREFACE - - -I do not propose, in this work, to consider the history or -development of defensive armour, for this has been more or less -fully discussed in works which deal with the subject from the -historical side of the question. I have rather endeavoured to -compile a work which will, in some measure, fill up a gap in the -subject, by collecting all the records and references, especially -in English documents, which relate to the actual making of armour -and the regulations which controlled the Armourer and his Craft. -At the same time it is impossible to discuss this branch of the -subject without overlapping in some details the existing works on -Arms and Armour, but such repetition has only been included because -it bears directly on the making, selling, or wearing of armour. - -I have intentionally omitted all reference to the sword and other -weapons of offence, for this would have unduly increased the size -of the present work, and the subject is of such importance that it -deserves a full consideration in a separate volume. - -The original limits of this work have been considerably enlarged -since it was offered as a thesis for the Degree of Bachelor of -Letters in the University of Oxford in the Michaelmas Term, 1911. -A polyglot glossary has been included, as this is a detail which -has been practically overlooked by all English writers. The subject -of Arms and Armour has not, up to the present time, received the -attention in England that it deserves, but I would be the first to -admit the value of the works of Meyrick and Hewitt, which are the -foundations upon which German and French as well as all English -authors have based their investigations. At the same time it should -be remembered that these two authors were pioneers, and statements -which they made have been contradicted or modified by more recent -research. Two examples of this will suffice. Meyrick named the -upstanding neck-guards on the pauldron the “passguards” and the -neck-armour of the horse the “mainfaire.” From the researches of -Viscount Dillon we learn that the passguard was a reinforcing piece -for the joust and the mainfaire was a gauntlet (_main de fer._) -Both these mistakes are still perpetuated in foreign works on the -subject, which shows the influence of Meyrick’s work even at the -present day. - -The subject of the Armourer and his Craft has never received much -attention in England, even at the hands of Meyrick and Hewitt. On -the Continent, however, writers like the late Dr. Wendelin Boeheim, -Gurlitt, Buff, and Angellucci have all added greatly to our store -of information on the subject. Boeheim’s work on the Armourers of -Europe (_Meister der Waffenschmiedekunst_) is the only work in any -language which has given us some account of the armour craftsmen -of the fifteenth and sixteenth centuries, and I should be indeed -remiss if I did not take this opportunity of acknowledging the -assistance which this collection of biographies has been in the -preparation of the present work. Signori Gelli and Moretti have -collected interesting documents relating to the Missaglia family, -but apart from this no other writers have made a study of the -Armourer. - -Gay’s _Encyclopædia_, which unfortunately was cut short after the -letter G by the death of the author, is also invaluable as far as -it goes, in that it gives in every case contemporary references -relating to the use of each word. The late J. B. Giraud published -certain records dealing with the Armourer in various French -archæological journals, and M. Charles Buttin has placed all those -interested in the subject under a deep obligation for his minute -researches on the subject of the proving of armour. - -Of living English writers I would express the indebtedness not -only of myself, but also of all those who are true _amateurs -d’armes_, to Baron de Cosson, who, with the late J. Burges, A.R.A., -compiled the Catalogue of Helmets and Mail which is to this day the -standard work on the subject. Last of all I would offer my sincere -thanks to Viscount Dillon, Curator of the Tower Armouries, not -only for his minute researches printed in the _Archæologia_ and -_Archæological Journal_, which have brought to light much valuable -information respecting the Armourer and his Craft in English -records, but also for very great personal interest and assistance -in the compilation of this work. - - CHARLES FFOULKES - - S. JOHN’S COLLEGE, - OXFORD, 1912 - - - - -CONTENTS - - - PAGE - - PREFACE ix - - THE ARMOURER 1 - - TOOLS, APPLIANCES, ETC. 22 - - IRON AND STEEL 38 - - THE CRAFT OF THE ARMOURER 44 - - THE PROOF OF ARMOUR 62 - - THE DECORATION OF ARMOUR 73 - - THE CLEANING OF ARMOUR 78 - - THE USE OF FABRICS AND LINEN 83 - - THE USE OF LEATHER 96 - - THE WEARING OF ARMOUR 104 - - THE ARMOURERS’ COMPANY OF THE CITY OF LONDON 120 - - LISTS OF EUROPEAN ARMOURERS 126 - - SHORT BIOGRAPHIES OF NOTABLE ARMOURERS 131 - - LIST OF ARMOURERS’ MARKS 147 - - POLYGLOT GLOSSARY OF WORDS DEALING WITH ARMOUR AND WEAPONS 153 - - - APPENDICES - - A. EXTRACT FROM THE RECORDS OF THE ARMOURERS’ COMPANY OF - LONDON, 1322 (Lib. C, fol. 33) 169 - - B. REGULATIONS OF THE HEAUMERS’ COMPANY, 1347 (City of - London Letter Book F, cxlii) 171 - - C. TREATISE OF WORSHIP IN ARMS, BY JOHAN HILL, ARMOURER, - 1434 (Bod. Lib., Ashmole. 856, art. 22, fol. 376) 173 - - D. TRAITÉ DU COSTUME MILITAIRE, 1446 (Du Costume Militaire - des Français en 1446, Bib. Nat., Paris, 1997) 177 - - E. EXTRACT FROM THE ORDINANCES OF THE ARMOURERS OF ANGERS, - ETC., 1448 (Ordonn. des Rois, XX, 156. Rev. d’Aquitaine, - XII, 26. Arch. des B. Pyrénées, E, 302) 180 - - F. EXPENSES IN THE ROYAL ARMOURIES, TEMP. HENRY VIII (Brit. - Mus., Cotton. App. XXVIII, f. 76) 182 - - G. PETITION OF ARMOURERS TO QUEEN ELIZABETH (Lansdowne MS. - 63, f. 5) 184 - - H. UNDERTAKING OF THE ARMOURERS’ COMPANY OF LONDON TO - SUPPLY ARMOUR (Records of the Company, 1618) 186 - - I. PROCLAMATION AGAINST THE USE OF GOLD AND SILVER EXCEPT - IN THE CASE OF ARMOUR (State Papers Dom. Jac. I, cv) 187 - - J. ERECTION OF PLATING-MILLS AT ERITH (State Papers Dom. - Jac. I, clxxx) 188 - - K. REGULATIONS AS TO THE HALL-MARK OF THE ARMOURERS’ - COMPANY (Rymer, XIX, 314) 191 - - L. PETITION OF ARMOURERS (State Papers Dom. Car. I, - cclxxxix, 93) 192 - - M. EXTRACT FROM THE SURVEY OF THE TOWER ARMOURY, 1660 - (Brit. Mus., Harl. MS. 7457) 193 - - - INDEX 195 - - - - -LIST OF ILLUSTRATIONS IN THE TEXT - - - PAGE - - 1. Diagram showing the “glancing surface” 4 - - 2. Diagram showing the position of the lance in jousting, - from _Arch. Journ._, LV. 5 - - 3. Pauldrons on the statue of Colleoni, Venice, and of a - Missaglia suit in the Waffensammlung, Vienna (Plate II) 6 - - 4. The solleret, practical and unpractical 6 - - 5. Horse-armour 8 - - 6. Harnischmeister Albrecht, from a painting in the - Arsenal, Vienna 9 - - 7. Cuissard for the off hock of a horse. Musée Porte de - Hal, Brussels 10 - - 8. Arms of the Armourers’ Gild, Florence. From the Church - of Or San Michele 14 - - 9. S. George, by Hans Multscher, 1458. Augsburg 14 - - 10. Richard Beauchamp, Earl of Warwick, arming. Brit. Mus., - Cott., Jul., E, IV, fol. 12 b 15 - - 11. The Westminster helm 17 - - 12. The Brocas helm 17 - - 13. The Fogge helm 17 - - 14. The Barendyne helm 17 - - 15. The Mail-maker, from Jost Amman’s _Stande und - Handwerker_, _circ._ 1590 23 - - 16. The Armourer, from the same source as the above 24 - - 17. Burring-machine or “jenny,” from the picture by - Breughel given on the frontispiece 36 - - 18. Method of making mail, from _Arch. Journ._, XXXVII 45 - - 19. Representations of double and single mail, from the - effigy of Robert de Mauley, formerly in York Minster, - _Archæologia_, XXXI 45 - - 20. The coif of mail, from the effigy of William, Earl of - Pembroke, Temple Church, and an unnamed effigy in Pershore - Church, Worcs, after Fairholt 46 - - 21. Attachment of the camail, from the effigy of Sir R. - Pembridge, Clehonger Church, Hereford 46 - - 22. Attachment of the camail reconstructed 46 - - 23. Suggested arrangement of “banded” mail, from _Arch. - Journ._, XXXVII, figure from _Romance of Alexander_, Paris, - Bib. Nat., _circ._ 1240, and the effigy at Newton Solney, - Derbs. 47 - - 24. Foot-soldier wearing a jack, from the _Chasse of S. - Ursula_, by Memling, 1475-1485. Bruges. 49 - - 25. Construction of jack, from _Arch. Journ._, XXXVII 50 - - 26. Brigandine in the Waffensammlung, Vienna, No. 130 50 - - 27. Detail from the picture of S. Victor and donor, by Van - der Goes, Glasgow 51 - - 28. Effigy in Ash Church, Kent, XIV cent. 51 - - 29. Statue of S. George at Prague, 1375 51 - - 30. The sliding rivet 52 - - 31. Sections of brassards in the Tower 54 - - 32. Locking gauntlet of Sir Henry Lee. Armourers’ Hall, - London 55 - - 33. Locking hooks, turning pins, and strap cover 55 - - 34. Bracket for jousting-sallad. Dresden, C, 3, 4 57 - - 35. Detail showing proof mark on the breast of suit of - Louis XIV. Paris, G, 125 69 - - 36. Proof marks on a brigandine plate in the Darmstadt - Museum 71 - - 37. Poleynes on the brass of Sir Robert de Bures, Acton, - Suffolk, 1302 74 - - 38. Beinbergs on the statue of Guigliemo Berardi, 1289, in - the Cloisters of the Church of the Annunziata, Florence 74 - - 39. Brass of an unknown knight at Laughton, Lincs, 1400 75 - - 40. Pourpointed cuisses, from the brass of Sir John de - Argentine, Horseheath Church, Cambs, 1360 83 - - 41. Padded horse-armour, from King René’s _Traicté d’un - Tournois_ 85 - - 42. Padded “harnische-kappe” and helm showing the - attachment of the cap, after Dürer 89 - - 43. Sallad-cap, from a picture by Paolo Morando, 1486-1522, - No. 571. Uffizi Gallery, Florence 89 - - 44. Helmet-cap, from a XVI-cent. engraving of Jacob Fugger 89 - - 45. Detail of eyelet coats, XVI-XVII cent. Musée - d’Artillerie and Musée Cluny, Paris 91 - - 46. Sallad with cover, from a XVI-cent. engraving 93 - - 47. Cuirass, from the sketch-book of Willars de Honecourt, - XIII cent. 96 - - 48. Leather gauntlet, XVII cent. Ashmolean Museum, Oxford 96 - - 49. Brassard of leather and cord for the tourney, from King - René’s _Traicté d’un Tournois_ 97 - - 50. Leather and steel hat of Bradshaw the regicide. - Ashmolean Museum, Oxford 99 - - 51. Stripping the dead, from the Bayeux Tapestry 105 - - 52. Knight arming, from the _Livre des Nobles Femmes_, Bib. - Nat., Paris, XIV cent. 105 - - 53. Brass of Sir John de Creke, 1325, Westley Waterless, - Cambs. 106 - - 54. Arming-points, from the portrait of a navigator. - Ashmolean Museum, Oxford 108 - - 55. Attachment of brassard, from the portrait of the Duc de - Nevers. Hampton Court Palace 108 - - 56. Moton attached by points. Harl. MS. 4826 109 - - 57. Arming-points on the foot, from a picture of S. - Demetrius by Ortolano. National Gallery, London 109 - - 58. Sixteenth-century suit of plate with the several parts - named in English, French, German, Italian, and Spanish 110 - - 59. Attachment of jousting-helms to the cuirass 112 - - 60. Side view of the above 112 - - 61. The armourer in the lists. Heralds’ Coll., MS. M, 6, - fol. 56 113 - - 62. Arms of the Armourers’ Company of London 120 - - 63. Design on a gauntlet of the suit made for Henry, Prince - of Wales, by William Pickering, _circ._ 1611. Windsor - Castle 122 - - 64. Mark of Bernardino Cantoni on a brigandine, C, II. Real - Armeria, Madrid 133 - - 65. Detail of shield by Desiderius Colman (Plate XXIV) 135 - - 66. Capital formerly in the Via degli Spadari, Milan, - showing the mark of the Missaglia family 138 - - 67. Design on the left cuisse of Henry VIII’s suit, made by - Conrad Seusenhofer. Tower of London, II, 5 141 - - 68. Design by Jacobe Topf for gauntlet and armet of Sir - Henry Lee, from the _Armourer’s Album_. Victoria and Albert - Museum 146 - - 69. Design on the breast of Sir Henry Lee’s suit by Topf. - Armourers’ Hall, London 146 - - - - -LIST OF PLATES - - - Venus at the Forge of Vulcan, by Jan Breughel and Hendrik - van Balen, _circ._ 1600. Kaiser Friedrich Museum, - Berlin _Frontispiece_ - - FACING PAGE - I. Armour for the “Stechzeug,” XV-XVI cent. Germanische - Museum, Nuremberg 4 - - II. Armour of the fifteenth century exemplified by the - effigy of Richard Beauchamp, Earl of Warwick, S. Mary’s - Church, Warwick, cast by Bartholomew Lambspring and Will - Austin, _circ._ 1454, from Blore’s _Monumental Remains_. S. - George, by Andrea Mantegna, 1431-1506, Accademia, Venice. - Armour of Roberto di Sanseverino, by Antonio da Missaglia, - _circ._ 1480; Waffensammlung, Vienna, No. 3 8 - - III. A Contrast. Armour of Count Sigismond of Tirol, - 1427-1496; Waffensammlung, Vienna, No. 41. Armour of Louis - XIV, by Garbagnus, 1668; Musée d’Artillerie, Paris, G, 125 12 - - IV. Armourers at work, Brit. Mus., Roy. MS. 16, G, v, fol. - II. Wood-carving of Duke William of Aquitaine, XV cent., S. - William’s Church, Strasburg. Venus and Vulcan, XIII cent., - Königl. Bib., Berlin, Codex MS. Germ., fol. 282, p. 79 16 - - V. Anvils in the British Museum (Burges Bequest) and in the - possession of Mme. Bellon, Avignon 20 - - VI. The Workshop of Conrad Seusenhofer, from the _Weisz - Künig_, by Hans Burgmair, 1525 24 - - VII. Armour of Kurfürst Moritz, by Matthäus Frauenpreis, - 1548. Königl. Hist. Museum, Dresden, G, 39 28 - - VIII. Armour of Henry VIII for fighting on foot in the - lists. Tower of London, II, 28 32 - - IX. Italian brassard (front and back), cuisse, 1470; - Ethnological Museum, Athens. Inside of leg-armour of suit - shown on Plate VIII 36 - - X. Helmets of Henry VIII; Tower of London. (1, 2) Made by - one of the Missaglia family; II, 29. (3, 4) Made by Conrad - Seusenhofer, 1514. (5) Bevor for the latter; II, 5. The - last three numbers form part of the suit shown on Plate XII 40 - - XI. Brigandine (inside and outside), XV cent.; Musée - d’Artillerie, Paris, G, 204, 205. Breast-plate of a - brigandine, 1470; Ethnological Museum, Athens. Right cuisse - of suit for fighting on foot in the lists, early XVI cent.; - Musée d’Artillerie, Paris, G, 178 44 - - XII. “Engraved Suit,” by Conrad Seusenhofer, presented to - Henry VIII by the Emperor Maximilian I, 1514. Tower of - London, II, 5 48 - - XIII. Helmet of Sir Henry Lee, by Jacobe Topf, 1530-1597. - Tower of London, IV, 29 52 - - XIV. Armour of King Sebastian of Portugal, by Anton - Peffenhauser, 1525-1603. Pageant armour of Charles V, by - Bartolomeo Campi, 1546. Real Armeria, Madrid, A, 290, 188 56 - - XV. Alegoria del Tacto, by Jan Breughel. Prado, Madrid 60 - - XVI. Venetian sallad, XVI cent.; Bayerischen National - Museum, Munich. Back-plate of a brigandine, 1470; - Ethnological Museum, Athens. Morion, XVI-XVII cent.; - Stibbert Collection, Florence. Surcoat of the Black Prince; - Canterbury Cathedral 64 - - XVII. Cast of ivory chessman, XIV cent. The original of - this was in the possession of the Rev. J. Eagles in 1856, - but has since disappeared. Ivory mirror-case showing - squires arming their masters, XIV cent. Carrand Collection, - Museo Nationale, Florence 68 - - XVIII. Portraits of two unknown noblemen, by Moroni, - 1510-1578, showing the arming-doublet and mail sleeves. - National Gallery, London 72 - - XIX. Helm for fighting on foot in the lists, XVI cent. It - formerly hung over the tomb of Sir Giles Capel, in Raynes - Church, Essex, and was sold as old iron to Baron de Cosson, - from whom it passed to the collection of the Duc de Dino, - and from thence to the Metropolitan Museum, New York. - Arming a knight for combat in the lists, from a MS. of the - XV cent., in the possession of Lord Hastings 76 - - XX. Armour of Henry, Prince of Wales, son of James I, by - William Pickering, 1591-1630, Master of the Armourers’ - Company of London. Royal Armoury, Windsor Castle 80 - - XXI. Suit of “puffed and slashed” armour, _circ._ 1520; - formerly in the Meyrick Collection; Wallace Collection, - No. 380. Tonlet suit for fighting on foot in the lists, - by Conrad Lochner, 1510-1567; Musée d’Artillerie, Paris, - G, 182. Armour of Ruprecht von der Pfalz, _circ._ 1515; - Waffensammlung, Vienna, No. 198 84 - - XXII. Gauntlets. (1, 2) Left and right hand gauntlets, - probably by Jacobe Topf, 1530-1597; Tower, II, 10. (3) - Bridle gauntlet of James I; Tower, II, 24. (4) Left-hand - gauntlet, XV cent.; Madrid, E, 87. (5) Locking gauntlet, - XVI cent.; Tower, III, 59. (6) Left-hand bridle gauntlet, - XVI cent.; Tower, III, 95. (7) Left-hand gauntlet of - Kurfürst Christian II, by Heinrich Knopf, _circ._ 1590; - Dresden, E, 7. (8) Left-hand gauntlet for fighting on - foot at barriers, XVI cent.; Tower, III, 58. (9) Gorget - of Kurfürst Johann Georg II, showing the Garter badge and - motto, by Jacob Joringk, 1669; Dresden, D, 29 88 - - XXIII. Armour for horse and man, middle of XV cent. Musée - d’Artillerie, Paris, G, 1 92 - - XXIV. Pageant shield, by Desiderius Colman, 1554. Real - Armeria, Madrid, A, 241 96 - - XXV. Drawing by Jacobe Topf, 1530-1597, No. 15 in the Album - in the Art Library, Victoria and Albert Museum, London 100 - - XXVI. Armour of Sir Christopher Hatton; formerly in the - Spitzer Collection, now in the Royal Armoury, Windsor - Castle 100 - - XXVII. Drawing by Jacobe Topf, from the same source as - Plate XXV, 18 in the Album 104 - - XXVIII. Armour of Sir John Smith, by Jacobe Topf. Tower of - London, II, 12 104 - - XXIX. (1) Armet, middle of the XVI cent.; Musée - d’Artillerie, Paris, H, 89. (2) Armet, engraved and gilt - with heavy reinforcing plates on the left side, end of XVI - cent.; Paris, H, 108. (3) Helm from the tomb of Sir Richard - Pembridge, Hereford Cathedral, _circ._ 1360. It was given - by the Dean of Hereford to Sir Samuel Meyrick, and passed - from him to Sir Noel Paton, and is now in the Museum at - Edinburgh. (4) Parade casque, after Negroli, middle of XVI - cent.; Musée d’Artillerie, Paris, H, 253. (5) Sallad, by - one of the Negroli family, end of XV cent.; Real Armeria, - Madrid, D, 13 108 - - XXX. Armour of Friedrich des Siegreichen, by Tomaso da - Missaglia, _circ._ 1450; Waffensammlung, Vienna, No. 2. - Armour, _circ._ 1460; Musée d’Artillerie, Paris, G, 5 112 - - XXXI. Portrait medal of Coloman Colman (Helmschmied), - 1470-1532. Designs for saddle steel and visor, by Albert - Dürer, 1517, from the Albertina, Vienna 116 - - - - -ACKNOWLEDGMENT - - -The author desires to express his thanks for permission to -reproduce illustrations contained in this work to the following:-- - -Viscount Dillon, Curator of the Tower Armouries; Mr. Guy Laking, -M.V.O., King’s Armourer; M. Charles Buttin, Paris; Mr. Albert -Calvert, London; The Society of Antiquaries; The Archæological -Institute; The Burlington Fine Arts Club; The Curators of the -Musée d’Artillerie, Paris; and of the Johanneum, Dresden; Messrs. -Mansell and Co., Hanfstaengl, Griggs and Co., London; Sgi. Fratelli -Alinari, Florence; Sig. Anderson, Rome; Herren Teufel, Munich; -Löwy, Vienna (publishers of Boeheim’s _Waffensammlungen_); Moeser, -Berlin (publishers of Boeheim’s _Meister der Waffenschmiedkunst_); -Christof Müller, Nuremberg; Seeman, Leipzig (publishers of -Boeheim’s _Waffenkunde_); and Sen. Hauser and Menet, Madrid. - - - - -WORKS OF REFERENCE - - - Allgemeine Zeitung. Various vols. - - Angellucci. Doccumenti inediti. - - Antiquarian Repertory. - - Archæologia. Various vols. - - Archæological Journal. Various vols. - - Archives Civiques de Lille. - - Archives Camerales di Torino. - - Armourers’ Company, London, Records of. - - - Beckman. History of Inventions. 1846. - - Belleval, Marquis de. Costume Militaire Français de 1445. - - Boeheim. Waffenkunde. 1890. - - ” Meister der Waffenschmiedekunst. 1897. - - ” Articles in Jahrbuch des Kunsthist. Sammlungen. - - Boileau, Étienne. Livres des Métiers. Edit. 1837. - - Buff, A. Augsburger Platner Allge. Zeit. 1892. - - Buttin. Notes sur l’Épreuve. (Rev. Savoisienne, 1906, fasc. 4.) - - ” Le Guet de Genève. 1910. - - - Calendar of State Papers. Various entries. - - Carteggio ined. artisti. - - Cellini, Benvenuto. Arte Fabrile, Plon. 1883. - - ” ” Life, Cust. 1910. - - Chambres des Comptes, Paris. Various entries, 1765. - - Chronique de Bertrand du Guesclin. Edit. 1837. - - City of London Letter Books. - - Cosson, Baron de:-- - - Arch. Journ., XXXVII. Catalogue of Helmets and Mail. - - ” ” XLI. Gauntlets. - - ” ” XLVIII. Arsenals and Armouries of Southern Germany. - - Catalogue of the Duc de Dino’s Collection. - - - Daniele, Père Gabriel. Hist. de la Milice Français. 1721. - - Demmin. Guide des Amateurs d’Armes. - - Dillon, Viscount:-- - - Archæologia, LI. Arms and Armour at Westminster, the Tower, and - Greenwich. 1547. - - ” LI. Trial of Armour. 1590. - - ” LVII. Ordinances of Chivalry, XV cent. - - Arch. Journ., XLIV. The Besague or Moton. - - ” ” XLVI. The Pasguard and the Volant Piece. - - ” ” LI. An Elizabethan Armourer’s Album, 1590. - - ” ” LV. Tilting in Tudor Times. - - ” ” LX. Armour Notes. - - ” ” LXV. Armour and Arms in Shakespeare. - - ” ” LXIX. Horse Armour. - - An Almain Armourer’s Album, Introduction and Notes. 1905. - - Dudley, Dud. Metallum Martis. 1665. - - - Essenwein. Die Helm. 1892. - - - Fauchet, Claude. Origines des Chevaliers, etc. 1610. - - ffoulkes, Charles:-- - - Armour and Weapons. 1909. - - Gaya’s Traité des Armes. 1911. - - Arms and Armour at Oxford. 1912. - - Archæologia, LXII, LXIII. - - Arch. Journ., LXVIII. - - Burlington Mag. April, 1911. - - Connoisseur. June, Sept., Nov., 1909. - - Zeitschrift für Historische Waffenkunde, V. 10. - - Forestie. Livres des Comptes des Frères Bonis. - - - Garnier. L’Artillerie des Ducs de Bourgogne. - - Gay. Glossaire Archéologique. - - Gaya. Traité des Armes, 1687. (Edit. by C. ffoulkes.) 1911. - - Gazette de Beaux Arts. Various articles. - - Gelli, J. Guida del Amatore di Armi Antiche. 1900. - - Gelli and Moretti. I Missaglia. 1903. - - Giraud. Les Armuriers Français et Étrangers, 1898. - - Gurlitt. Deutschen Turniere, Rüstungen und Plattner. 1889. - - Gwynne, John. Memoirs of the Great Civil War. 1822 edit. - - - Hastings MS. Ordinances of Chivalry. (Archæologia, LVII.) - - Hefner-Altneck. Tracten des Christlichen Mittelalters. 1840. - - Herbert, William. Hist. of 12 Livery Companies of London. 1834-7. - - Hewitt. Ancient Armour. 1855. - - Holinshed, R. Chronicles - - - Jahrbuch des Kunsthistorische Sammlungen des Allerhöchster Kaiserhause. - Various vols. - - - Langey. Discipline Militaire. - - La Noue. Discours Politiques et Militaires, trans. by E. A. 1587. - - Letters and Papers Foreign and Domestic, Record Office. Various entries. - - - Markham, G. Decades of Epistles of War. 1662. Souldiers’ Accidence. 1643. - - Memorials of the Verney Family. - - Mémoires de la Soc. Arch. de Touraine. - - Meyrick. Antient Armour. - - Montgomery. Milice Français. - - Morigia. Hist. dell’ Antichita di Milano. - - - Oliver de la Marche. Memoirs, etc. 1616 edit. - - Ordonnances des Métiers de Paris. - - Ordonnances des Rois. - - - Patent Office, London, Records of. - - Pennant. History of London. - - Pelegrini. Di un Armajuolo Bellunese. Arch. Venez., X. - - - René. Traicté d’un Tournoi. - - Revue Savoisienne. Various vols. - - Rogers, J. Thorold. History of Agriculture and Prices. 1866. - - Rymer. Fœdera. Various entries. - - - Saulx-Tavannes. Mém. rel. à l’hist. de France, Vol. VIII. 1866. - - Saxe, Marshal. Rêveries. Edit. 1756. - - Scott, Sir S. History of the British Army. - - Speculum Regale. Edit. 1768. - - Smith, Sir John. Instructions and Orders Militarie. 1593. Discourses. - 1590. - - Sussex Archæological Journal. Various articles. - - - Walsingham. Historia Anglicana, Rolls Series. - - Wardroom Accounts of Edward I. Soc. of Ant. - - - Zeitschrift für Historische Waffenkunde. Various articles. - - _Catalogues_ of Windsor Castle; the Tower; Wallace Collection; - Rotunda, Woolwich; Musée d’Artillerie, Paris; Armeria Reale, Turin; - Real Armeria, Madrid; Waffensammlung, Vienna; Zeughaus, Berlin; - Porte de Hal, Brussels; Historische Museum, Dresden; Ashmolean and - Pitt-Rivers Museums, Oxford; British Museum; etc. etc. - - _Articles in various Journals and Periodicals_ by Viscount Dillon, - Baron de Cosson, Burgess, Waller, Way, Meyrick, Hewitt, ffoulkes, - Boeheim, Angellucci, Beaumont, Buttin, Yriarte, Giraud. - - _Various MSS._ from the British Museum; Bib. Nat., Paris; Königl. - Bibliothek, Berlin; Bodleian Library; etc. etc. - - - So yff hit stoode than no wer ware - Lost were the craffte of Armoreres - - LYDGATE, _The hors, the shepe & the gosse_, line 127 - - - - -THE ARMOURER AND HIS CRAFT - - - - -THE ARMOURER - - -The importance of the craft of the armourer in the Middle Ages -can hardly be overestimated, for it is, to a large extent, to the -excellence of defensive armour and weapons that we owe much of the -development of art and craftsmanship all over Europe. The reason -for this somewhat sweeping statement is to be found in the fact -that up to the sixteenth century the individual and the personal -factor were of supreme importance in war, and it was the individual -whose needs the armourer studied. In the days when military -organization was in its infancy, and the leader was endowed by -his followers with almost supernatural qualities, the battle was -often won by the prowess of the commander, or lost by his death or -disablement. It would be tedious to quote more than a few instances -of this importance of the individual in war, but the following are -typical of the spirit which pervaded the medieval army. - -At the battle of Hastings, when William was supposed to have been -killed he rallied his followers by lifting his helmet and riding -through the host crying, “I am here and by God’s grace I shall -conquer!” The success of Joan of Arc need hardly be mentioned, as -it is an obvious example of the change which could be effected -in the spirit of an army by a popular leader. This importance of -the individual was realized by the leaders themselves, and, as a -safeguard, it was often the custom to dress one or more knights -like the sovereign or commander to draw off the attack. At Bosworth -field Richmond had more than one knight who personated him; -Shakespeare gives the number as five, for Richard says, “There be -six Richmonds in the field; five have I slain instead of him.” - -When the importance of the leader is realized it will be obvious -that the craft of the man who protected him in battle was of the -utmost importance to the State; and when once this is admitted, we -may fairly consider that, in an age of ceaseless wars and private -raids, the importance of all the other applied arts which followed -in the train of a victorious leader depended to a very great extent -on the protection afforded him by his armourer.[1] - -It would be indeed superfluous to dwell upon the artistic -influences which may be traced directly to the military operations -of the Assyrians, Greeks, Romans, and at a later date the Northern -tribes of Europe, for every writer on the subject bases his -opinions upon this foundation. In more modern periods the conquest -of Spain by the Moors introduced a type of design which has never -been wholly eradicated from Spanish Art, and in our own country the -Norman Conquest gave us a dignified strength of architecture which -would never have been established as a national phase of art if the -victory had been to Harold and the English. The improvements in -the equipment and military organization of the foot-soldier in the -thirteenth and fourteenth centuries necessitated a more complete -style of defensive armour for the mounted man, and the elaborate -leg armour of plate may be directly traced to the improvement in -the weapons of the former. As is the case at the present day in -the navy, the race between weapon and defence was ceaseless, each -improvement of the one being met by a corresponding improvement in -the other, till the perfection of the firearm ruled any form of -defence out of the competition. More peaceful influences were at -work, however, due to the interchange of visits between European -princes; and German and Italian fashions of armour, as well as of -the other applied arts, competed with each other all over Europe, -though their adoption may generally be traced to a ruler of note -like Maximilian or Charles V. - -So without undue exaggeration we may fairly claim for the craft -of the armourer a foremost place as one of the chief influences -in the evolution of modern art and, as such, an important factor -in the development of all the arts which follow in the train of -conquest. - -There are certain essential rules which must be observed in -the practice of every craft; but in most cases only one or two -are necessary for the production of good work, because of the -limitations either of the craft or of the needs of those for whom -it is practised. It would be out of place to go through the various -applied arts and to consider the rules which guide them; but, -on examination of these rules as they apply to the craft of the -armourer, it will be seen how each and all are essential for the -production of satisfactory work. - -The rules are these:-- - - 1. Suitability for purpose. - 2. Convenience in use. - 3. Recognition of material. - 4. Soundness of constructional methods. - 5. Subservience of decoration to the preceding rules. - -It may be advantageous to examine these rules one by one and see -how they are observed to the full in the best specimens of armour -and how their neglect produced inferior work. - -1. =Suitability for purpose.=--The object of defensive armour was -to protect the wearer from attack of the most powerful weapon in -use at the period when it was made. This was obtained not only by -thickness of metal, but also by so fashioning the planes of the -metal that they presented a “glancing surface” to the blow. An -early example of this consideration of the needs of the wearer -is to be found in the first additions of plate to the suit of -mail which were made in the leg armour of the thirteenth century -(Fig. 38). The reason for this was the increased efficacy of the -weapons of the foot-soldier, who naturally attacked the legs of the -mounted man. The use of mail was far from practical, except in the -form of gussets or capes, which could not be made so conveniently -in plate. The mail armour of the thirteenth century was only a -partial protection, for although it defended the wearer from arrows -and from sword-cut or lance-thrust, it was but little protection -against the bruise of the blow, even when, as was always the case, -a padded garment was worn underneath. Up to the sixteenth century -the shield was used for this reason and provided a smooth movable -surface which the knight could oppose to the weapon and thus -present a glancing surface to the blow. - -An examination of a suit of armour of the fifteenth century will -show how this glancing surface was studied in every part. The lames -of the arm-pieces are overlapped downwards so that the blow might -slip off, and the elbow-cop presents a smooth rounded surface which -will direct the blow off the arm of the wearer. The breastplate, -which was at first simply smooth and rounded, became in the -sixteenth century fluted; and a practical experiment will show that -when the thrust of a lance--the favourite weapon at that time--met -one of these flutings it was directed to the strong ridge at neck -or arm hole and thence off the body (Plate 30, 2). The upstanding -neck-guards, wrongly called “passe-guards,” were also intended to -protect the weak part where helmet and gorget met. The fan-plate -of the knee-piece protected the bend of the knee, especially when -bent in riding, the normal position of the mounted man, and the -sollerets were so fashioned that the foot was best protected when -in the stirrup. - -[Illustration: _PLATE I_ - -ARMOUR FOR THE STECHZEUG - -XV-XVI CENT.] - -[Illustration: FIG. 1. The “glancing surface.”] - -The helm and helmet are especially good examples of the craft of -the armourer in this respect. The early flat-topped helm of the -thirteenth century was soon discarded because it was found that the -full force of the downward blow was felt, which was not the case -when the skull of the head-piece was pointed or rounded (Fig. 1). -A treatise on the subject of Military Equipment in the fifteenth -century (Appendix D) distinctly enjoins that the rivets on the -helm should be filed flat: “Et les autres ont la teste du clou -limée affin que le rochet ny prengne.” This is not often found in -existing helms, but the fact that it is mentioned shows that the -smooth surface of the helm was an important consideration. In -helms made for jousting these considerations were minutely studied -by the armourer, for the object of jousters in the sixteenth -century was simply to score points and not to injure each other. -The occularium of the jousting-helm is narrow and is so placed that -it is only of use when the wearer bends forward with his lance in -rest. The lance was always pointed across the horse’s neck and was -directed to the left side of his opponent, therefore the left side -of the helm is always smooth with no projection or opening (Fig. -2). These are found, in cases where they occur, on the right side, -where there would be no chance of their catching the lance-point. -Again, the skull and front plate of the helm are generally thicker -than those at the back, where there is no chance of a blow being -delivered. - -[Illustration: FIG. 2. Position of lance in jousting (Arch. Journ., -LV).] - -2. =Convenience in use.=--Besides protecting the fighting man the -armourer had to remember that his patron had to ride, sometimes -to walk, and always to use his arms with convenience, and at the -same time had to be protected while so doing. At first the cuirass -was made simply in two pieces, the back and the front fastened -under the arms with straps. In the middle of the fifteenth century -each of these was made in two or more pieces joined with a rivet, -working loose in a slot cut in the uppermost of the plates, so -that a certain amount of movement of the torse was possible. The -pauldrons, which often appear unnecessarily large, almost meeting -in front and, as is the case in the statue of Colleoni in Venice, -crossing at the back, are so made that they would protect the -armpit when the arm was raised in striking a blow (Fig. 3). The -upper part of the arm-piece or rerebrace is made of overlapping -lames held together by sliding rivets, which allow a certain amount -of play outwards and forwards, but the defence becomes rigid if -the arm is moved backwards, for this movement is not necessary in -delivering a blow (see page 52). The arm and leg pieces are hinged -with metal hinges on the outside of the limb and fastened with -straps or hooks and staples on the inside. In most cases modern -theatrical armour errs in this respect, for it is obvious that -if the straps were on the outside the first object of the enemy -would be to cut them and render the armour useless. The vambrace -or cannon and the lower portion of the rerebrace are in single -cylindrical plates, for here no movement is possible independently -from the shoulder and elbow. The rerebrace, however, is generally -formed with a collar which turns in a groove bossed out in the -upper portion, so that the arm can turn outwards or inwards without -moving the shoulder (see page 54). The cuisse and the front and -back of the jamb are for the same reasons each made in one piece, -joined to the knee-cop and solleret by narrow lames working loose -on rivets. The cuisse only covers the top part of the thigh for -convenience on horseback, and wherever a cuisse is found that -protects the back of the thigh we may be sure that the owner -fought on foot (Plate IX). The solleret is made so that the foot -can move naturally in walking. The upper part is formed of small -lames working on loose rivets and overlapping downwards towards a -centre-plate which covers the tread of the foot; beyond this the -toe-plates overlap upwards and thus perfect freedom of movement is -obtained. - -[Illustration: FIG. 3. Back of Pauldrons of A. Statue of Colleoni, -Venice. B. Missaglia Suit, Waffensammlung, Vienna.] - -[Illustration: FIG. 4. (1) The practical solleret at rest and (2) -in action. (3) Unpractical solleret, late sixteenth century.] - -The various forms of head-piece all more or less exemplify this -need of convenience in use, for they protected the head and at -the same time gave as much opportunity for seeing, hearing, and -breathing as was compatible with their defensive qualities. The -armet or close helmet is perhaps the most ingenious, with its -single or double visor, which could be lifted up so as to leave -the face completely exposed till the moment of attack, when it was -closed and fastened with a locking hook (Plate XIII). Examples of -the armourer adapting his work to the requirements of his patrons -are to be found in the globose helm for fighting at barriers -made by one of the Missaglia family (Tower, II, 29). Here the -vision-slits were evidently found to be too large and too dangerous -to the wearer. An inner plate was added with smaller holes through -which no weapon used at barriers could penetrate (Plate X). A -second example shown in Fig. 14 has a plate added at the lower -edge to increase the height of the helm, which suggests that -the last wearer had a longer neck than the original owner. This -convenience in use is also to be noticed in the gauntlet, which, -as the science of sword-play developed, was gradually discarded in -favour of a defence formed of the portes or rings on the sword-hilt -(Plate XXII). In jousting-armour there was only one position to be -considered, namely, the position with hand on bridle and lance in -rest. The armourer therefore strove to protect his patron when he -assumed that position alone. The arm defences of jousting-armour -with elbow-guard and poldermitton would be useless if the wearer -had to raise his arm with a sword, but, when the lance was held in -rest, the plates of the defences were so arranged that every blow -slipped harmlessly off. As the right hand was protected with the -large shield or vamplate fixed to the lance a gauntlet for this -hand was frequently dispensed with, and, as the left hand was only -employed to hold the reins, a semi-cylindrical plate protected the -hand instead of the articulated gauntlet in use on the field of war -(Plate I). - -[Illustration: _PLATE II_ - - EFFIGY OF RICHARD BEAUCHAMP, EARL OF WARWICK - S. MARY’S CHURCH, WARWICK, 1454 - - S. GEORGE, BY MANTEGNA, 1431-1506 - ACCADEMIA, VENICE - - ARMOUR BY ANTONIO DA MISSAGLIA, 1480] - -[Illustration: FIG. 5. Horse Armour, sixteenth century. - - ENGLISH FRENCH GERMAN ITALIAN SPANISH - 1. chanfron chanfrein ross-stirn testiera testera - - 2. peytral poitrail brust panzer pettiera pechera - - 3. crinet crinière {mähnen panzer }collo cuello - {kanze } - - 4. pommel {pommeau }sattel-knopf primo pomo del - {arcade de } arcione arzon - {devant } - - {troussequin rückenstück }secondo zaguero - 5. cantel {arcade de pausch }arcione - {derrière - - 6. crupper croupière {krup panzer }groppa grupera - {lenden panzer } - - 7. tail-guard garde-queue schwanzriem guardacorda guardamalso - panzer - - 8. flanchard {flançois }flanken panzer fiancali flanqueras - {flanchière } -] - -Horse armour or “barding” was of necessity more cumbrous and but -little was attempted beyond the covering of the vital parts of the -body with plates or padded trappings (Fig. 5). Mail was used for -the whole “bard” in the thirteenth century, as we know from the -decorations in the “Painted Chamber” at Westminster.[2] It was -still in use for the neck-defence or “crinet” in the middle of -the fifteenth century. Examples of the latter are to be found in -Paris (Plate XXIII) and in the Wallace Collection, No. 620. Some -attempt to make an articulated suit was evidently made; for we have -a portrait of Harnischmeister Albrecht (1480) mounted on a horse -whose legs are completely covered by articulated plates similar -to those on human armour (Fig. 6). A portion of the leg-piece of -this or of a similar suit is in the Musée Porte de Hal, Brussels -(Fig. 7). Besides the obvious advantage of plate armour over mail -for defensive purposes, it should be noted that in the former the -weight is distributed over the body and limbs, while with the -latter the whole equipment hangs from the shoulders, with possibly -some support at the waist. Hence the movements of the mail-clad -man were much hampered both by the weight of the fabric, and also -by the fact that in bending the arm or leg the mail would crease -in folds, and would thus both interfere with complete freedom and -would probably produce a sore from chafing. - -[Illustration: FIG. 6. Harnischmeister Albrecht, 1480. From a -painting in the Arsenal, Vienna.] - -[Illustration: FIG. 7. Cuissard for the off hock of a horse. Musée -Porte de Hal, Brussels, IV, 9.] - -3. =Recognition of material.=--It would seem at first sight -superfluous to give examples of this when considering armour; but -in the sixteenth century, when the craftsman desired to show off -his technical skill, we find many suits made to imitate the puffed -and slashed velvets and silks of civilian dress. A notable example -of this is to be found on the famous “Engraved Suit” made by Conrad -Seusenhofer for Henry VIII in the Tower, in which the cloth “bases” -or skirts of civilian dress are imitated in metal (Plates XII, -XXI). The human form, head and torse, were also counterfeited in -metal in the sixteenth century, with no great success from the -technical point of view. - -4. =Soundness of constructional methods.=--This rule is really -contained in those that have preceded it, but some notice should -be paid to the various methods of fastening different plates and -portions of the suit together. There are many ingenious forms -of turning hook and pin by which these plates can be joined or -taken apart at will (page 55). The sliding rivet is one of the -most important of these constructional details. The lower end of -the rivet is burred over the back of the lower plate, and the -upper plate has a slot cut of less width than the rivet-head, -but sufficiently long to allow the plate to move backwards and -forwards, generally from three-quarters to one inch (page 52). - -5. =Subservience of decoration to the preceding rules.=--The best -suits are practically undecorated, but at the same time there are -many which are ornamented with incised or engraved lines and -gilding which do not detract from the utility of the armour. This -last rule is best understood by examples of the breach rather than -the observance; so we may take the rules in order and see how each -was broken during that period known as the Renaissance. - -(1) The “glancing surface” was destroyed by elaborate embossing, -generally of meaningless designs, in which the point or edge of a -weapon would catch. - -(2) The convenience was also impaired by the same methods, for the -lames and different portions of the suit could not play easily one -over the other if each had designs in high relief. Plates were set -at unpractical angles, sometimes overlapping upwards, in which -the weapon would catch and would not glance off. We find that -foot-armour was made in the sixteenth and seventeenth centuries -with the lames all overlapping upwards or downwards, and with no -centre-plate for the tread. In the suit given to Henry, Prince of -Wales, by the Prince de Joinville in 1608 (Tower, II, 17) the lames -of the solleret all overlap downwards (see also Fig. 4). It will be -obvious that with such a foot-covering it would be impossible to -walk with ease. - -(3) The observance of this rule may be taken as a matter of course -and its neglect has been noticed above. - -(4) The careless arrangement of the foot-armour, as mentioned -in No. 2, is an example of the disregard of this rule. Another -instance is the embossing the metal of various parts of the suit -so as to simulate lames or separate plates. They do not ornament -the suit and of course do not add to its convenience; they merely -create a false impression and save the craftsman some labour. The -same may be said of the “clous perdus” or false rivets, which are -found in late suits, doing no work in the construction of the suit, -but giving an appearance of constructional work which is lacking. - -(5) One has only to keep the above rules in mind and then to -examine an embossed suit by Piccinino or Peffenhauser to see how -this rule was broken to the detriment of the work as a good piece -of craftsmanship, though perhaps the result may have increased the -artistic reputation of the craftsman (Plate XIV). - -It should be noticed that the craftsman of the Renaissance, in -spite of his disregard of the craft rules, did not deteriorate -as a worker; for some of the suits of the Negrolis or of the two -above-mentioned armourers could hardly be equalled at the present -day as specimens of metal-work. But his energies were directed -into different channels and his reputation as an honest craftsman -suffered. By the sixteenth century everything concerned with the -defensive qualities and the constructional details of armour -had been discovered and carried to a high pitch of perfection. -The craftsman therefore had to find some way of exhibiting his -dexterity. Add to this the love of ostentation and display of -his patron, one of the most noticeable traits of the so-called -Renaissance, and we find that by degrees the old craft-excellence -became neglected in the advertisement of the craftsman and the -ostentation of his patron. - -In dealing with the first rule no mention was made of the defensive -qualities of armour against firearms, and this from the middle -of the sixteenth century was an important detail in the craft of -the armourer. The glancing surface was of some use; but the armed -man could not afford to take chances. So his equipment was made -to resist a point-blank shot of pistol or arquebus. This will be -noticed with details as to the proof of armour on page 65. It was -the fact that armour _was_ proof against firearms which led to -its disuse, and not that it was of no avail against them, as is -the generally accepted idea. The armourer proved his work by the -most powerful weapons in use, and by so doing found that he had to -increase the weight of metal till it became insupportable (see page -117). - -[Illustration: _PLATE III_ - -ARMOUR OF SIGISMOND OF TIROL, 1427-96 - -ARMOUR OF LOUIS XIV, BY GARBAGNAUS, 1668] - -In the days when travelling was difficult and the difficulties -of transportation great, both on account of the condition of the -roads and also because of the insecurity of life and property, -due to national and personal wars, it was but natural that each -country and district should be in a large measure self-supporting, -especially with respect to armour and weapons. At the same time, -by degrees, some localities produced superior work, either because -they possessed natural resources or because some master founded -a school with superior methods to those of his neighbours. Thus -we find Milan famous for hauberks, Bordeaux[3] for swords, Colin -cleeves (Cologne halberds), Toulouse swords, misericordes of -Versy, chapeaux de Montauban (steel hats), Barcelona bucklers, -arbalests of Catheloigne, and of course swords of Solingen, Toledo, -and Passau. - -The principal centres for the making of armour were Italy and -Germany, and it is quite impossible to say which of the two was the -superior from the craftsman’s point of view. If anything, perhaps -the German school favoured a rather heavier type of equipment, due, -no doubt, to the natural characteristics of the race as compared -with the Italian, and also, when the decadence of armour began, -perhaps the German armourer of the Renaissance erred more in -respect of useless and florid ornamentation than did his Italian -rival. But even here the types are so similar that it is almost -impossible to discriminate. France produced no great armourers, -at least we have no records of craft-princes such as the Colmans, -the Seusenhofers, the Missaglias, or the Negrolis, and the same -may be said of England. We have isolated examples here and there -of English and French work, but we have no records of great -schools in either country like those of Milan, Brescia, Nuremberg, -Augsburg, and Innsbruck. A few scattered entries from state or -civic documents will be found under the various headings of this -work and portions of regulations respecting the trade; but of the -lives of the craftsmen we know but little. At a time when personal -safety in the field was of the utmost importance, it can be easily -understood that the patron would take no risks, but would employ -for choice those craftsmen who held the highest repute for their -work, just as till recently the prospective motorist or airman -would not risk a home-made machine, but patronized French makers. -It may seem strange that the local craftsmen did not attempt to -improve their work when examples of foreign skill were imported -in great quantities; but against this we must set the fact that -the detail of the first importance in the craft of the armourer -was the tempering of the metal and this the craftsman kept a close -secret. We have various accounts of secret processes, miraculous -springs of water, poisoned ores, and such-like which were employed, -fabulously no doubt, to attain fine temper for the metal, but no -details are given. It may be that the metal itself was superior in -some districts, as witness the Trial of Armour given on page 66. -Seusenhofer when provided with inferior metal from the mines by -Kugler suggested that it should be classed as “Milanese,” a clear -proof that the German craftsmen, at any rate, considered the -Italian material to be inferior to their own. Little is known as -to the production of the Florentine armourers. Mr. Staley in his -_Guilds of Florence_ has unfortunately found little of importance -under this heading in the civic records of the city. - -[Illustration: FIG. 8. Arms of the Armourers’ Gild, from the church -of Or San Michele, Florence.] - -The “Corazzi e spadai” of Florence will, however, be always known -by their patron S. George, whose statue by Donatello stood outside -the gild church of Or San Michele. At the base of the niche in -which it stood are carved the arms given in Fig. 8. - -[Illustration: FIG. 9. S. George, by Hans Multscher, 1458, -Augsburg.] - -Armourers were imported by sovereigns and princes to produce -armour for their personal use and thus to avoid the difficulties -of transit, but they seem to have kept their craft to themselves -and to have founded no school. Henry VIII brought over the “Almain -Armourers” to Greenwich at the beginning of his reign, but most -of them went back in time to their own country, and few took out -denization papers. In 1624 we find that only one of the descendants -of these foreigners was left and he resolutely refused to teach any -one the “mysterie of plating” (page 188). A colony of armourers -migrated from Milan to Arbois towards the end of the fifteenth -century, but no celebrated craftsmen seem to have joined them -except the Merate brothers, who worked for Maximilian and Mary of -Burgundy. It is difficult, in fact impossible, to say which country -led in the beginnings of the armourer’s craft. We have the suit -of Roberto di Sanseverino (Vienna, Waffensammlung, No. 3) signed -with the mark of Antonio Missaglia, _circ._ 1470, and we also have -a statuette by Hans Multscher at Augsburg, _circ._ 1458, which -represents S. George in a suit of armour of precisely the same -design (Fig. 9). It should be noted, however, that the treatment of -this figure shows a strong Italian influence. In European history -of the fifteenth century we have few records of German armourers -being employed, during the first half, at any rate, by the rulers -of other states. We know that Richard Beauchamp, Earl of Warwick, -travelled in Italy and wore armour of a distinctly Italian style, -for it is depicted in the _Beauchamp Pageants_ (Fig. 10) and -is also shown on his magnificent monument in S. Mary’s Church, -Warwick. The likeness of the armour on this monument to that shown -in the picture of S. George, by Mantegna, in the Accademia, Venice, -is so striking that we are bound to admit that the two suits must -have been produced by the same master, and on comparison with the -suit in Vienna above alluded to, that master must have been one of -the Missaglia family. The Earl of Warwick died in 1439 and Mantegna -was born about 1431, so that it is quite possible that the former -purchased a suit of the very latest fashion when in Italy, and that -the latter, realizing the beauty of work produced when he was but a -boy, used a similar suit as a model for his picture (Plate II). As -early as 1398 the Earl of Derby had armour brought over to England -by Milanese armourers, and by the year 1427 Milan had become such -an important factory town that it supplied in a few days armour for -4000 cavalry and 2000 infantry. - -[Illustration: FIG. 10. Richard Beauchamp, Earl of Warwick (Cot. -Jul. E, IV, F, 12 b).] - -The impetus given to the craft in Germany was due to the interest -of the young Emperor Maximilian, who encouraged not only the -armourer, but every other craftsman and artist in his dominions. -In the _Weisz Künig_ we find him teaching the masters of all -crafts how best to do their own work, though this is probably an -exaggeration of the sycophantic author and illustrator. Still -we are forced to admit that the crafts in Germany attained to a -very high level during his reign. In the description of his visit -to Conrad Seusenhofer, the armourer, it is recorded that the -latter wished to employ certain devices of his own in the making -of armour, to which the young Emperor replied, “Arm me according -to my own wish, for it is I and not you who will take part in the -tournament.” From Germany came armour presented by the Emperor to -Henry VIII, and it is clear that such a master as Seusenhofer, -working so near the Italian frontier as Innsbruck, must have -influenced the Milanese work, just as the Milanese in the first -instance influenced the German craftsmen. With the succession of -Charles V to the thrones of Spain and Germany we find a new impetus -given to German armourers. In Spain there seems to have been a -strong feeling in favour of Milanese work, and the contest between -the two schools of craftsmen was bitter in the extreme. So personal -did this feud become that we find Desiderius Colman in 1552 making -a shield for Charles V on which the maker is represented as a bull -charging a Roman soldier on whose shield is the word “Negrol,” -a reference to the rivalry between the Colmans and the Negrolis -of Milan (Plate XXIV). With the demand for decorated armour the -rivalry between the two centres of trade increased, and there -is little to choose between the works of the German and Italian -craftsmen, either in the riotous incoherence of design or in the -extraordinary skill with which it was produced and finished. - -[Illustration: _PLATE IV_ - - ARMOURERS AT WORK. XV CENT. - BRIT. MUS. ROY. MS. 16, G. V, FOL. II - - WOODCARVING OF DUKE WILLIAM OF AQUITAINE - AND HIS ARMOURER. XV CENT. - - VENUS AND VULCAN. XIII CENT. - BERLIN, KÖNIGL. BIB. CODEX MS. GERM. 282, 79] - -From entries in the State Papers preserved in the Record Office, -it would seem that Milanese armourers were employed by Henry VIII -during the first years of his reign. By the year 1515 the Almain -or German armourers from Brussels had evidently taken their place, -for they are entered as king’s servants with liveries. Only one -Milanese name is found in the list of armourers, Baltesar Bullato, -1532, so that it is clear that Henry, owing, no doubt, to the -influence of Maximilian, had definitely committed himself to German -armour as opposed to Italian. England seems to have remained -faithful to this German influence, but her rulers and nobles never -indulged in the exaggerated and over-elaborate productions which -held favour in Spain and Germany, a fact which is noticeable even -at the present day, when the so-called “Art Nouveau” disfigures -many German and Italian cities but has never obtained a serious -foothold in England. Simplicity and practicality were always the -chief features in English armour. The few known specimens of -English work of the late fifteenth and early sixteenth centuries, -the jousting-helms at Westminster, Woolwich, Ashford, Petworth, -and the Wallace Collection, are examples of this, and the armour -of later years has the same qualification (Figs. 11-14). Even the -suits of Topf, who worked in England at the end of the sixteenth -century and produced the magnificent work that is shown at the -Tower, Windsor, and elsewhere, the designs for which are contained -in an album in the Art Library at South Kensington, are marked -by a restraint which is not found in the works of Piccinino -and Peffenhauser. The decoration never impairs the utility of -the armour, and the designs are always those suitable for work -in tempered steel, and are not in any way suggestive of the -goldsmith’s work of his foreign contemporaries. In the English -national collections we have but little eccentric armour, which is -so common in Continental museums; all is severe and yet graceful, -practical even if decorated, a tribute to the characteristics of -the English race of fighting men. - -[Illustration: FIG. 11. The Westminster Helm, _circ._ 1500. -Westminster Abbey. 17 lb. 12 oz. - -FIG. 12. The Brocas Helm, Rotunda, Woolwich. 22 lb. 8 oz.] - -[Illustration: FIG. 13. The Fogge Helm, Ashford, Sussex. 24 lb. - -FIG. 14. The Barendyne Helm, Great Haseley, Oxon. 13 lb. 8 oz.] - -The ornamentation of armour with gilding had obtained such a firm -hold that in the seventeenth century James II was obliged to make -an exception in its favour in his proclamation against the use of -“gold and silver foliate,” an extract of which is given in Appendix -I, page 187. In discussing the craft of the armourer it should be -remembered that we can only base our conclusions on the scattered -entries of payments, inventories, and other documents in State or -private collections, and by examination of suits which have been -preserved in the armouries and collections of Europe and England. -These suits represent but a very small percentage of the large -stores of armour of all kinds which must have been in existence -at the beginning of the seventeenth century, and it is only the -fine and exceptional examples which have survived. The material -was so costly in the making that it was made and remade over and -over again; which will account for the absence of complete suits of -the fourteenth century and the scarcity of those of the fifteenth -and sixteenth centuries now in existence. Occasionally we have -local collections which give us a suggestion of what the standing -armoury must have been, such as the armour stores at Gratz, -Zurich, the collection of helmets and armour found in the castle -of Chalcis,[4] and village armouries like that at Mendlesham, -Suffolk. Two examples of the treatment of armour must suffice. -In the Inventory of the Tower, taken in 33 Hen. VI, 1455, is the -entry: “Item viij habergeons some of Meleyn and some of Westewale -of the which v of Melyn were delyv’ed to the College of Eyton and -iij broken to make slewys and voyders and ye’s.” Here clearly the -hauberk is cut up and used to make sleeves and gussets, which -were more useful when the complete plate body-defences had come -into fashion than the shirt of mail. This is also another example -of the competition between Milan and Germany (Westphalia) in the -matter of armour-making. As an example of the other reason for the -absence of armour in national and private collections in any great -quantities, we may cite Hearne’s account of his visit to Ditchley, -given in his _Remains_ under the date 1718. He says: “In one of the -outhouses I saw strange armour which belonged to the ancestors[5] -of the Earl of Litchfield, some of the armour very old.” In the -steward’s accounts of but a few weeks later Viscount Dillon has -discovered an entry, “received of Mr. Mott, the brazier for the old -armour wayed 14 cwt. 1 qr. 21 lb. at 10s. the cwt. £7. 4. 6.” The -saddles had been previously cut up to nail up the fruit trees.[6] -From the weight of armour sold there were probably about twenty -suits, some of which must certainly have been of value, possibly -one or more of the missing suits designed by Topf for Sir Henry -Lee and illustrated in the _Almain Armourer’s Album_ now in the -South Kensington Art Library. It can be readily understood that -when the historic or artistic value of armour was not appreciated -it was a cumbrous and useless possession, which soon deteriorated -if not kept clean and bright, and therefore it was melted down just -as are the broken stoves and domestic ironmongery which litter -the rubbish-heaps to-day. We find interesting examples of the -application of munitions of war to peaceful purposes in the use of -sword-pommels as weights for steelyards, helmets for buckets and -scale-bowls, and portions of body armour cut up and fashioned into -lock-covers in the Stibbert Museum, Florence, in the collection -of the Marchese Peruzzi, and elsewhere.[7] Even as late as the -year 1887 the value of armour was not realized, for in that year -two half-suits, stamped with the college mark, were sold from -New College, Oxford, as old iron (_Arms and Armour in Oxford_, C. -ffoulkes). - -State and civic records have frequent entries of regulations and -disputes connected with the various craft-gilds, and the armourers -were no exception. The right of search was a privilege jealously -guarded, for it prevented the competition of those outside the gild -and was also a check against foreign competition, which was always -a thorn in the side of the armourer. Every country enacted laws -against importation of arms, and yet for really fine work every -country had to look to Italy or Germany. But this was probably the -case only among the richest, and it is the elaborate workmanship -on the armour which has ensured the survival of many suits of this -type. The ordinary hosting or war-harness was made quite as well -in England as elsewhere; just as the Englishwoman of to-day can be -dressed as well in London as in Paris; but, if she can afford it, -elects to pay large sums for the _cachet_ of the Parisian name. -With regard to the documents bearing on the life of individual -armourers, we have such records as wills, registers of baptisms -and marriages, and also trade accounts and bills. In the latter -the armourer seems to have been no better off than the painter -or sculptor of the Middle Ages and Renaissance. He was always in -financial difficulties and was ceaselessly pressing his patron for -payment. An example of this is given on page 59, where we find -that W. Pickering was paid £200 in 1614, the balance of his bill -for £340, for a suit made for Henry, Prince of Wales, who died in -1612; so that he had to wait at least two years before he received -the whole amount. Conrad Seusenhofer suffered in the same way and -his life was one long struggle with Maximilian and the Diet for -payments for his work. The armourer, however, had the advantage -over his fellow-craftsmen; for when a war or a tournament was -imminent he made his own terms and refused delivery till he had -received payment. - -[Illustration: _PLATE V_ - - ARMOURER’S ANVIL AND PINCERS. XVI CENT. - BRITISH MUSEUM, BURGES BEQUEST - - ANVIL. XIV CENT. - IN THE POSSESSION OF MME. BELLON, AVIGNON] - -The craft of the armourer merits far more study than has hitherto -been bestowed upon it, for in its finest examples it fulfils -all the essential laws of good craftsmanship to the uttermost. -Added to this the works of the armourer have what may be called a -double personal interest. In the first place, they are the actual -wearing apparel of kings, princes, and other persons of note, -made to their measure and often exhibiting some peculiarity of -their owner. Owing to the perishable nature of fabrics but little -of wearing apparel has survived to us of the periods anterior -to the seventeenth century, and therefore the suit of armour is -most valuable as an historical record, especially when taken in -conjunction with portraits, historical paintings, and sculpture. In -addition to this we have the personality of the maker. The boldly -grooved breast-plate, the pauldrons, and the wide elbow-cops of the -Missaglia, the distinctive hook for the armet which appears only -on Topf suits can be recognized at once, and besides this we have -the _poinçon_ or signature of the craftsman, which it is almost -impossible to imitate, and which at once proclaims the authorship -of the armour. - -The whole subject of the armourer and his craft, his limitations, -his success at his best period, and his decadence in later years -can be best summed up in the illustration given on Plate III. Here -we have the graceful and light yet serviceable suit of Sigismond of -Tirol, made by an unknown armourer about the year 1470, placed side -by side with the cumbrous defence made for Louis XIV by Garbagnus -of Brescia in 1668. Though this craftsman must have had fine work -by his forefathers at hand to study, and though the other arts and -crafts were tending towards a light and flowing, if meaningless, -style of design, the craft of the armourer had by this time reached -a depth of sheer utilitarian ugliness which was never equalled even -in the most primitive years of its history. - - -FOOTNOTES: - -[1] See Regulations of the “Heaumers,” Appendix B, p. 171. - -[2] _Vetusta Monumenta_, VI, and _Armour and Weapons_, p. 88, C. -ffoulkes. - -[3] Haute Savoye, near Aix-les-Bains. - -[4] Charles ffoulkes “Italian Armour at Chalcis,” _Archæologia_, -LXII. - -[5] Sir Henry Lee. - -[6] _Arch. Journ._, June, 1895. - -[7] Sir Thomas Gresham’s steelyard in the London Museum is -decorated with portions of sword hilts. - - - - -TOOLS, APPLIANCES, ETC. - - -The tools used by the armourers of all nations differ but little -from the implements of the blacksmith and, as will be seen in -considering the various inventories that survive, these have -scarcely varied in form during the centuries. When once invented -the hammer, the anvil, the vice, the chisel, and the pincers are -open to but few improvements, and even with the advent of steam and -mechanical power, the functions of the tool remain and are simply -guided by a machine instead of by the hand. - -The chief work of the armourer was the beating out of plates -from the solid ingot of metal and therefore we find that all -illustrations dealing with this craft show the workmen engaged in -this operation. When once the rough shape of the piece was obtained -a great deal of the work was done when the metal was cold, as will -be seen from examination of the illustrations. - -When the craft of the armourer became important and when a large -trade was done in these munitions of war, it was found more -convenient to have the plates beaten out in special mills before -they were handed over to the armourer to make up into armour. These -battering-mills are noticed on pages 35, 188. - -In many instances they were probably owned by the armourers -and were often under the same roof; but the fact that we find -hammermen, millmen, platers, and armourers mentioned together in -records and bills of payment to armouries seems to suggest that -they had different duties assigned to them. - -That the work of the plater was quite distinct from that of the -armourer in the sixteenth century we gather from entries in the -State Papers Domestic, and in the reign of James I, which will be -discussed more fully farther on in this chapter. - -The earliest European illustration of an armourer at work at -present known is to be found in the thirteenth-century _Aeneid_ -of Heinrich von Waldec (codex MS. Germ. fol. 282, p. 79) in the -Königl. Bib. Berlin (Plate IV). From the fact that the armourer -(Vulcan) is holding the helm with pincers we may infer that he is -working it hot. The anvil as shown in this miniature (Plate IV) is -square and of primitive form and would seem to be quite useless for -the work, but this may be due to the inexperience of the artist. -The hammer, however, is carefully drawn and is evidently from some -real example in which the face is rounded in a slightly convex form -and the toe ends in a small blunted point which may be for riveting -small objects or for making small bosses. - -[Illustration: FIG. 15. The Mail-maker (from Jost Amman’s _Stände -und Handwerker_), _circ._ 1590.] - -In the fifteenth century we find more care as to details and more -operations shown in the illustration on the same plate, taken -from a miniature by Boccace in _Les Clercs et Nobles Femmes_ -(Bib. Reg. 16, G, v. fol. II) in the British Museum. Here we have -several men at work under the superintendence of a lady who is -generally supposed to be the Countess Matilda, while their labours -are enlivened by a flute-player. The man at the bench appears -to be putting together a defence composed of circular plates -laced to a leather or linen foundation which strongly resembles -the culet of so-called “penny plate” armour in the Tower (III, -358). The helm-smith is working on a bascinet which he holds with -pincers, but he is using the toe of the hammer and not the face, -which hardly seems a likely operation. He holds the helmet on a -helmet-stake which probably has a rounded surface for finishing -off the curves. The seated man is perhaps the most interesting -figure, for he is a rare example of a mail-maker at work, closing -up the rings with a pair of pincers. Up to the present we have no -definite idea as to how the intricate operation of mail-making -was accomplished so as to turn out rapidly coats of mail. It is -probable that some form of pincer was used which pierced the -flattened ends of the ring and closed up the rivet when inserted. -Possibly investigations in the East, where mail is still made, may -throw some light upon the subject.[8] The illustration by Jost -Amman (Fig. 15) certainly shows the craftsman using a punch and -hammer for his work and the only other tool shown is a pair of -shears. Mail was in use up to the first years of the seventeenth -century, so we may be sure the artist drew his figure from life. - -[Illustration: FIG. 16. The Armourer (from the same source as Fig. -15).] - -Few of the actual tools of the armourer survive to us at the -present day. In the Burges Bequest in the British Museum is a fine -anvil decorated with figures of saints in relief of the sixteenth -century, which appears to have been used by a craftsman dealing -with metal in plates or sheets, for the face of the anvil is burred -over in a manner that would not be the case if the smith had -worked with bars or rods, the usual materials of the blacksmith. -In the same case is a pair of armourer’s pincers which resemble -the _multum in parvo_ tools of to-day, for they include hammer, -wire-cutter, nail-drawer, and turnscrew (Plate V). A similar pair -of pincers exists in the Rotunda Museum, Woolwich (XVI, 200). In -the Wallace Collection (No. 88) is an armourer’s hammer of the -sixteenth century with a faceted copper head, the reason for which -was probably the need for avoiding scratching the surface when -finishing a piece. In the same collection is a finely decorated -farrier’s hammer (1002), which also includes a nail-drawer and -turn-nut. The handle is inlaid with brass and mother-of-pearl and -is decorated with engravings of S. George and a musketeer of about -1640. A decorated anvil and vice which were catalogued as those of -an armourer, the property of Mr. Ambrose Morell, were exhibited -in the Metropolitan Museum, New York, in 1911, but from the form -and size of the tools they would appear to have been rather those -of the silversmith than of the armourer. Jost Amman’s “Armourer” -(Fig. 16) calls for no special notice, as no tools are shown in the -workshop, and is merely of interest as being included in this _Book -of Trades_, published in 1590. - -[Illustration: _PLATE VI_ - -MAXIMILIAN AND HIS ARMOURER, CONRAD SEUSENHOFER - -FROM THE WEISZ KÜNIG] - -The earliest inventory containing armourers’ tools is found in the -archives of the city of Lille. It is dated 1302 and refers to the -effects of the Constable de Nesle in the Hôtel de Soissons, -Paris. The inventory is a long one and includes many interesting -details of furniture, fabrics, and armour. That portion relating to -the tools runs as follows:-- - - _Arch. Dept. du Nord. Fonds de la Chambre des Comptes de Lille, - No. 4401._ - - Une englume et fos a souffler lx s. - Unes tenailes bicournes, i martel et menus instruments de forge - xiii s. vi d. - Item unes venterieres v s. - ” xxxviii fers faites xii s. viii d. - ” sas a cleus, tenons environs v sommes xxi l. v s. - ” xiii douzaines de fer de Bourgoyne xxii s. vi d. - -Another early inventory is that of Framlingham Castle, Norfolk, of -the year 1308:-- - - ix capellae ferratae at iv s. - iii vices ad eandem tendentes at ii s. - -The earliest complete English inventory of tools connected with -the craft of the armourer occurs in the _Accounts of the Constable -of Dover Castle_. Two separate lists are given at different dates, -which may be studied with more convenience if placed side by -side:--[9] - - _Dec. 20. 17 Edw. III, 1344._ _Jan. 26. 35 Edw. III, 1361._ - - Item in Fabrica. En la Forge. - - ij maides[10] ij andefeltes de fer[10] - ij bicorn[11] j andefelte debruse - iij martellos magnos j bikore[11] - iij martellos parvos iij slegges[12] - ij tenaces magnas[13] iiij hammeres - v tenaces parvas[13] vj paires tanges dount deux grosses - ij instrumenta ad ferram iiij pensons febles[14] - cinendum[14] iij nailetoules per clause en icels - iiij instrumenta ferrea ad fair[14] - claves inficiendos[15] iij paire bulghes dount une nouvell[16] - ij paria flaborum[16] j peer moler[18] - j folour de ferro[17] ij fusels de feer aicele[19] - j mola de petra versatilis j paire de wynches[21] as meme la peer - pro ferreo acuendo[18] j trow de peer pur ewe[22] - ij ligamina de ferreo pro j hurthestaf de feer[23] - j buketto[20] j cottyngyre[24] - j markingyre[25] une cable vels et - pourz - -All the above tools are in use at the present day, except perhaps -the “nailetoules” for closing the rivets, and, as has been stated -above, if we could but discover what this implement was we might -find that it is also used at the present day for some other -purpose. The nearest approach to such a tool is the eyelet-hole -maker and riveter used by bootmakers. The “bicornes” are still -known to-day as bickirons. They are small anvils with long horns -which are used when riveting tubes or turning over long pieces of -metal. It is a little uncertain as to whether the “folour” derives -its name from the same root as the modern French “fouloir,” a -“rammer,” or from the Latin “follis,” “bellows.” The former would -seem more probable, as it was made of iron. The “fusels de feer -aicele” present some difficulty, but they may be taken to be -spindles of some kind, possibly for the grindstones. The “wynches” -explain themselves, but the addition of “as meme la peer” is not so -clear, for from the next item “peer” evidently means “stone,” for -it is a trough of stone for water; at the same time the word “pair” -is often written “peer” at this period, so it may refer to a pair -of winches. The bellows, shears, and grindstone call for no special -comment, but the “hurthestaf” presents some difficulty. It would -seem to be derived from the word “hearth” or “herth,” in which case -it would probably be a long iron rod, rake, or poker, used for -tending the forge-fire. This seems to be borne out in the inventory -of 1514, where it is spelt “harth stake.” The “cottyngyre” and -“markingyre” may be found in every blacksmith’s shop to-day as -cold-chisels and marking-iron. - -The next entry bearing upon the subject of tools and workshop -requirements is found in an _Inventory under Privy Seal of Henry -VI_, dated 1485, at which time John Stanley, of Wyrall, Cheshire, -was Sergeant of the Armoury of the Tower.[26] Here we find the -following items recorded:-- - - it’m ij yerds iij q’ters of corse rede sylke } All splendid and moch - It’m d’yerds d’q’reters of rede vele wet } more to coom of the - It’m iiij grosses of poyntes[27] } king’s harneys - It’m vj armyng nales[28] } - It’m hamer, j bequerne, j payr of pynsonys, iij pounde of wyre - which was sold by Mastr. Wylliam Fox amerer - -The “bequerne” is the same as the “bicorn” mentioned in the Dover -Castle inventory. - -In the earlier periods we have no records as to the material -used or the quantities required. It is only when we come to the -sixteenth century that we find detailed accounts kept to assist our -investigations respecting the making of armour. - -The next inventory worthy of note contains a list of payments made -to John Blewbery, who was in charge of the workshops in 3 Henry -VIII, 1514. - -_Public Record Office._ - - xviii September Also payde by Owre Commandement to John Blewbery - for the new fforge at Greenwiche made for the - Armarers of Brussells these peces ensuynge. - - s. d. - - a vyce xiii iv - a greate bekehorne lx - a smalle bekehorne xvi - a peyre of bellowes xxx - a pype stake[29] iii iv - a Creste stake[30] iv - a vysure stake[31] iv - a hanging pype stake[32] iv iv - a stake for the hedde pecys[33] v - ii curace stakes[34] x - iv peyre of Sherys[35] xl - iii platynge hamers[36] viii - iii hamers for the hedde pecys v - a creste hamer for the hedde peces xx - ii hamers ii viii - ii greve hamers[37] iii iv - a meeke hamer[38] xvi - ii pleyne hamers ii - ii platynge hamers ii - ii chesels wt. an halve viii - a creste hamer for the curace xii - ii Rewetinge hamers[39] xvi - a boos hamer[40] xii - xi ffylys[41] xi - a payre of pynsors xviii - ii payre of tongs xvi - a harth stake[42] vi - ii chesels & vi ponchons ii - a watr. trowgh xviii - a temperinge barrelle xii - one Andevyle xx - vi stokks to set the Tolys x - xvi dobles at xvi d every doble xxi iv - xviii quarters of Colys vi ix - - in alle xiii li. xvi s. xi d. - -Here we find the outfit more elaborate than that scheduled at -Dover. The various “stakes” in use show that there were special -appliances for making every part of the armour, both as regards the -anvils and the hammers. The “halve” with the two chisels is, of -course, the haft or handle, which could be fitted to either. The -“vi stokks to set the Tolys” are presumably handles in which the -tools were fixed. The “ponchons” are punches used in the repoussé -work. The “xvi dobles” were probably heavy iron models on which the -various pieces were shaped. Two specimens in the Tower (a morion, -IV, 227, and a breastplate, III, 209), are considered by the -present Curator to be dobles, for they are cast and not wrought, -are far too heavy for actual use, and have no holes for rivets or -for attaching the lining. - -In the illustration given on Plate VI, taken from Hans Burgmair’s -_Weisz Künig_, many of these tools are shown in use. The engraving -was produced by an artist who was also a designer of armour, so -they would certainly be correctly drawn. The various small stakes -are all in use and all the work is being done with the metal cold, -for the men are holding it with their hands. This working of the -cold metal tends to compress the crystals and to make the metal -hard, and is more than once alluded to in works upon armour. Gaya, -in his _Traité des armes_,[43] mentions this detail, and again Jean -de Saulx-Tavannes[44] mentions “cuirasses battues à froid” when -speaking of armour of “proof,” which is also noticed in the present -work under that heading. - -[Illustration: _PLATE VII_ - -ARMOUR OF KURFÜRST MORITZ. BY MATTHAÜS FRAUENPREIS, 1548] - -The following extracts from various books and documents relate to -the tools and appliances of the armourer:-- - - 1278. _Roll of Expenses for a tournament in Windsor Park._ - - It qualibet cresta j per chaston - -These chastones or clavones were rivets for fastening the crests of -the knights and also of the horses. Most of the items in this roll -were supplied by curriers or tailors, for the weapons and armour -were of wood or leather, and metal does not seem to have been used. - - 1300. _Wardrobe Expenses of Edward I._[45] - - Una Cresta cum clavis argenti pro eodem capello. - - 1301. _An indenture on the delivery of the Castle of Montgomery - by William de Leyburn to Hugo de Knoville._[46] - - Unum incudem et i martellum et ii suffletis ovi valoris. - -These are evidently the contents of the castle armourer’s workshop: -an anvil, a hammer, and a small pair of bellows of no value. -Perhaps such items are hardly worth chronicling, but in a work of -this nature it seems to be advisable to collect every entry bearing -upon the subject, so as to make it a complete study of the craft -of the armourer both technically and historically, as far as is -possible with the very limited material obtainable. - - 1369. _Dethe Blaunche, l. 9964._ Chaucer. - - As hys brothres hamers ronge - upon hys anuelet up and doon. - - 1386. _Knight’s tale, l. 1649._ Chaucer. - - Faste the armurers also - with fyle and hamer prikynge to and fro. - -This refers to the travelling armourer who accompanied his lord to -the tournament or to war. - - 1465. _Acts. of Sir John Howard._ - - 20,000 Bregander nayle 11s. 8d. - -These are the small rivets used in making the brigandine. A -brigandine with sleeves at Madrid (c. 11) is composed of 3827 -separate plates and over 7000 rivets were used in putting it -together. - - 1460 (?). _Ordinances of Chivalry, fol. 123b._[47] - - Also a dosen tresses of armynge poyntis. - Also a hamyr and pynsones and a bicorne. - Also smale nayles a dosen. - -The “tresses” were plaited laces for fastening the various portions -of armour to the wearer. These may be seen in the portrait of the -Duc de Nevers(?) at Hampton Court, the picture of S. Demetrius -by L’Ortolano in the National Gallery, and more clearly in the -portrait of an unknown navigator in the Fortnum Room of the -Ashmolean Museum, Oxford. The arming-points will be found described -and illustrated on page 109. - - 1513. _Equipage of Henry, Earl of Northumberland._[48] - - Emmery & oile for dressing my Lord’s harnes. - Leather, bokills & naylles for mendyng my Lords harnes. - - Towles conserning the mending of my Lord’s harnes. Item a payre - of nyppers, a payre of pynsores, a pomyshe,[49] & ij fylles. - Item a small sti’the, a hammer, and all ouy^r stuffe and tooles - belonginge an armorer. Item viij yards of white blaunkett for - trussing of my Lord’s harnes in. - -The emery and oil were used in cleaning the armour and will be -noticed in due course on page 78. The nippers, pincers, etc., have -been alluded to before. The “sti’the” is an anvil, a term used up -to Shakespeare’s time, as may be found in _Hamlet_, iii. 2, 89. All -these “Towles” or tools would be part of the travelling equipment -of the armourer who accompanied his lord on active service. - - 1514. _Record Office, 9 July, to John Blewbery._ - - For a millwheel with stondard, 2 beams & brasys [braces] - belonging thereto and two small wheels to drive the - glasys 40s. - For two elm planks for lanterns for the same mill 5s. - 13 lbs. of tin at 5d. a lb. 5s. 5d. - 28 lbs. of white soap for tempering the said mill at 2d. lb. 4s. 10d. - 500 gauntlet nailes 8d. - 100 & a half of iron 4/8, 3 rivetting hamers 2/- 6s. 8d. - a payre of pynsers 2/8, 4 crest fylys 4/- 6s. 8d. - 2 greate fylys 5s. - 100 & a half of steele for vambraces & gaunteletes 60s. - -The mill-wheel was for the water-power used for turning the -grind-stones and other appliances which will be noticed later on -in this chapter. The “glasys” are probably the glazing-wheels for -putting the final polish upon the finished armour. The white soap -was for lubricating the axle of the mill-wheel or for the final -polish of the metal on the wheel or buff. The “gauntlet nailes” are -small rivets for gauntlets which, being of thinner metal, would -require a smaller-sized rivet than the rest of the body armour. The -steel for vambraces and gauntlets was probably thinner than that -used for other portions of the suit. - - 1514. _Record Office, 22 July, to John Blewbery._ - - for the glasyers of the said mill and one spindle to - the same glasyers £4 0 0 - for a grind stone & the beam for the same mill 1 0 0 - - _Kings Book of Payments, Record Office._ - - 1516. _Feb., to Edith, widow of Fountain, millman._ - - for milling & carriage of harness 15 0 0 - - 1516. _Record Office_, _loc. cit._, _May, John Hardy, fishmonger_. - - 4 bundles of Isebrooke stuff for making parts of - harness £8 6 8 - -It is difficult to see why this payment should have been made -unless the fishmonger had imported the Innsbruck metal in one of -his boats. The term “Isebroke” will be found mentioned under the -chapter dealing with the Proving of Armour. - - 1517. _Record Office_, _loc. cit._, _April, to John de Mery_. - - 2541 lbs. of steel plates of Isebroke and Lymbrickes - stuff £26 12 0 - -The “Lymbricke” metal came from Limburg, in North Brabant. - - 1517. _Record Office_, _loc. cit._, _May, to Sir Edw. Guylford_. - - making two forges & the repairs in the Armory at - Southwark £19 2 0 - - 1520. _Record Office,[50] April, Richd. Pellande, Rauffe Brand, - Richd. Cutler, and Hans_, four of the King’s armourers, brought - to the Field of the Cloth of Gold all sorts of necessaries for - armour, such as buckles, files, chisels, punches, hinges, hides, - and rivets. - - The glazing-mill was taken down at Greenwich and was set up at - Guisnes with four forges. - - 1544. _Cott. App. XXVIII, f 69, Brit. Mus._ - - Working in the privy Armoury upon the filing of the king’s - Majestie’s harnes & other necessaries from May 11-July 16. (This - is part of the account of Erasmus, the King’s armourer, who is - noticed elsewhere.) - - 1544. _Loc. cit., f. 76. Charges of the King’s Armoury._ - - Item 8 bundles of steel to the said Armoury for - the whole year 38/- the bundle li. xv iiii - - (Lockers and Millmen are mentioned in this entry.) - -On page 31 it was noted that in 1516 four bundles of steel cost £8 -6s. 8d., in 1517 2541 lb. cost £26 12s., that is about 2½d. per lb. -From these three entries taken together we gather that the “bundle” -was about 20 lb. - - 1544. _Cott. App._[51] XXVIII, f. 76. - - Item for 16 bundles of steel to serve both shops - a whole year at 38/- per bundle li. xxx viii - Item i hide of buff leather every month for both - shops at 10/- the hide vi x - Item to every of the said shops 4 loads of - charcoal a month 9/- the load xl xix - Item for both shops 1 cowhide every month at - 6/8 the hide iv vi viii - Item 100 of iron every month for both shops at - 6/8 the 100 iv vi viii - Item in wispe steel for both shops every month - 15 lbs. at 4d. lb. lxv - Item in wire monthly to both shops 12 lb. - monthly at 4d. the lb. lii - Item in nayles & buckles for both shops monthly lxv - -This record contains other details in connection with the two -workshops of Greenwich and Westminster, in which 12 armourers, 2 -locksmiths, and 2 millmen and 2 prentices are employed who “will -make yearly, with the said 16 bundles of steel and the other stuff -aforesaid, 32 harnesses complete, every harness to be rated to the -king’s Highness at £12, which amounteth in the year towards his -Grace’s charge iii^c iiii^{xx} iiii^{li}” (£384). - -From these details we can find approximately that the 32 suits -required 13 hundred of iron and 195 lb. of whisp steel. Therefore -each suit took 40¾ lb. of iron and about 6 lb. of whisp steel. - -[Illustration: _PLATE VIII_ - -ARMOUR OF HENRY VIII FOR FIGHTING ON FOOT IN THE LISTS] - -The leather was either for straps and linings for the armour, or -may have been used for facing the polishing-wheels or “buffs.” The -year was divided into thirteen lunar months. - - 1559. _Henry V, iv, chorus._ Shakespeare. - - The Armourers accomplishing the knights - With busy hamers closing riuets up. - -This is more or less a poetic licence, for the riveting was only -done on each separate piece, and these were joined on the wearer -with straps, arming-points, or turning-pins. Of course this entry -should be taken as made at the year when Shakespeare wrote, and not -as representing an actual occurrence at Agincourt. - - 1562. _State Papers Domestic, Elizabeth, Vol. XXI_, 14. - - Due also to the armorers of the Tower for their wages & - for leather, buckels, nailes & other paiments in indent - to the said armory at the feast of Christmas last past vj^{li} xv^s - -In this entry are mentioned arming nails, butret nails, hammers, -punshions, sheres, fyles, sand for scouring, cords, points, -oyletholes, tow and butten nails. - - 1574. _State Papers Domestic, Elizabeth, Vol. XCIX_, 50. - - The monthly charge ordinary, vez coles, stele - Iron nayles, buckills & lether &c. vij^{li} - - 1593. _Auditor’s Privy Seal Book_, 353. - - Elizabeth to the Treasurer & Chamberlain of the Exchequer. - - Whereas we ... are informed that the mills serving for our - Armoury at Greenwich are decayed, you are to pay to Sir H. Lee - such sums as are necessary for the repairs ... for the mills not - to exceed £80. - - 1622. _Record Office, Sir Henry Lee’s Accounts of the Armoury._ - -The following details are mentioned:-- - - Redskins for bordering of armour, calfskins for the same, leather - for gauntlets, Round headed nails, Tynned nails, flat headed - nails, white nails, yellow nails, double buckels, buckels, nails - and taches for gantlets, copper nails, brockases, tacejoyntz. - -The “nails” here mentioned are rivets of iron or brass or copper. -Some were tinned to prevent rusting, a custom which was practised -as early as 1361, for we find in one of the inventories of Dover -Castle[52] under that date “xiii basynetz tinez.” The “taches” for -gauntlets were fastenings of some kind, possibly turning-pins. The -“brockases” were also probably brooches or fastenings of some sort, -and the “tacejoyntz” hinges for attaching the tassets to the taces. - - 1624. _State Papers Domestic, Jac. I, Vol. CLXXX_, 71, 72. - _Erection of Plating-mills by Capt. Martin at Erith._ (This - document is quoted at length in Appendix J, p. 188.) - - The rates for Plaetes and armors exectly examined for the prices the - strength and lightness considered are thus reduced. - The chardge of a tun of Armer plaetes £18 0 0 - Two chaldron of coles wt. carriadge will be 11 2 0 - Reparation for the mill 12 0 - The workmen for battering this tun of plaetes 4 0 0 - The armourers may make them wt due shape black - nayle and lether them for 7 10 0 - etc. etc. - -The entries in this document will be examined fully on page 41. - - 1631. _Fœdera, xix, p_. 312. Rymer. - - Unstriking new fyling russetting new nayling lethering - and lyning of a cuirassiers armor i iii 0 - -This entry occurs in a document under the Privy Seal of Charles -I, dated Westminster, June 29, which refers to the using of a -hall-mark for armour. The principal portion of this is given in -Appendix K, page 191. - - 1643. _State Papers Domestic, Car. I, Nov. 20._ - - Letter from Privy Seal to treasurer & under Treasurer of - Exchequer to pay Wm. Legg Master of the Armoury £100 by way - of imprest upon account to be employed in building a mill at - Woolvercote near Oxford for grinding swords & for building forges - providing tools & other necessaries for sword blade makers to be - employed to make swords for our service. - - 1644. _State Papers Domestic, Car. I, D, Feb. 26._ - - Warrant of the Privy seal to Exchequer. - - By our special command Legg has caused to be erected a mill - for grinding swords at Woolvercote co Gloucester & forges at - Gloucester Hall, you are therefore to pay upon account to Wm. - Legg Master of the Armory a sum not exceeding £2000 for grinding - swords and belts in the office of the armory the same to be made - at the usual price and according to pattern as by us appointed - also to provide tools and other necessaries for sword blade - making employed by the said Master of the Armory. - -In the second of these extracts “co Gloucester” is a slip of the -pen due to the close proximity of “Gloucester Hall.” It should of -course read “Oxford.” The mill was originally owned by the nuns -of Godstow, who received it from Henry I. It is now used by the -Clarendon Press for paper-making. Gloucester Hall is now Worcester -College. There are no records either in the city or university to -throw more light on these entries. - - 1649. _Parliamentary Survey, Feb., No. 30._ - - The Armory Mill consisted of two little rooms and one large one - in which stood two mills, then lately altered. The mill with - stables stood in an acre of ground abutting on Lewisham Common - and was used till about twelve years before the above date for - grinding armour and implements for the King’s tilt-yard. - -The mill is described in the rental of the manor, 44 Edw. III, -1371, as one for grinding steel and valued at 3s. 4d. per ann. - - 1660. _Harl. MSS._ 7457. - - A view and Survey of all the Armour and other Munitions or - Habiliaments of Warr remayneing at the Tower of London.[53] - - Armorers Tooles. - - Small bickernes, Tramping stakes,[54] Round stake,[55] Welting - stake,[56] straite sheres,[57] fileing tonges, Hamers, Old tew - iron,[58] Great square anvill, Bellows, Smiths vices, Threstles. - -The entry which refers to the loss of the “Great Bear,” a large -anvil formerly at Greenwich, is given in full in Appendix M. - -Before leaving the subject of tools and appliances, some notice -should be taken of the picture by Jan Breughel (1575-1632) entitled -“Venus at the Forge of Vulcan” (Kais. Friedrich Mus., Berlin, -No. 678), which measures 54 cm. by 93 cm. Here all the various -operations of the armourer and gun-founder are shown, with a -large quantity of armour, weapons, bells, coins, and goldsmith’s -work. The details of especial interest are the grindstones and -“glazing-wheels,” and the “tilt-hammers” worked by water-power, -which were probably the machines used in the “battering-mills” more -than once alluded to above. These water-turned hammers continued -in use in England up to the first quarter of the nineteenth -century,[59] and are still found in Italy at the present day. -They are raised by wooden cams or teeth set round the axle of the -water-wheel, to which a handle is fixed on the near side for use -when water-power was not available. The chisel-edge of the hammer -is for stretching the metal by means of a series of longitudinal -hammerings. Of the grindstones actuated by the same water-power, -the larger would be for rough work, the second for finer finish, -and the smallest, which is probably a wooden “buff,” would be used -for the high polish at the end. - -It is impossible here to give a detailed description of this -very interesting picture, which has been considered elsewhere by -the present author.[60] At the same time the tools shown in this -workshop are worthy of notice as being part of the stock-in-trade -of the armourer of the seventeenth century. - -[Illustration: _PLATE IX_ - -FRONT AND BACK OF BRASSARD, 1470 - -INSIDE OF LEG ARMOUR OF SUIT ON PLATE VIII - -CUISSE, 1470] - -[Illustration: FIG. 17. Burring-machine or “Jenny” (see -frontispiece).] - -To the left of the tilt-hammers, in the foreground, are a pair -of large bench-shears, and above them, on a cooling-trough, just -below the magpie, is a long-handled swage for stamping grooves and -edgings on metal plates. Tongs, pincers, and hammers are found in -many parts of the picture, and dies for stamping coins or medals -are seen immediately below the bench-shears. Directly under the -right foot of Vulcan is a tracing-wheel, similar to that shown -on Jost Amman’s engraving of the “Compass Maker” in his _Book of -Trades_. A small bench-vice lies near the lower margin of the -picture under the figure of Cupid, and a hand-vice and repoussé -hammer on the three-legged stool to the left. In the distance, -over the figure of Venus, is the primitive contrivance for boring -a cannon, the mould for casting which is seen close by in the -floor. The most interesting detail is to be found in the machine -which lies at the foot of the small anvil at Cupid’s right hand. -This bears a strong resemblance to the modern burring-machine or -“jenny,” used for turning up the edge of thin metal plates (Fig. -17). - -The armour shown, with its strongly marked volutes and -decoration, is of a type very common in the Madrid and Turin -armouries, some of which has been ascribed to Pompeo della Chiesa. -We have no clue as to whose workshop this picture represents, -but if taken from life, it must certainly have been that of some -master like Bartolomeo Campi, who, besides being an armourer, was -a bronze-founder and goldsmith as well (see Frontispiece). - - -FOOTNOTES: - -[8] The present writer is commissioning research to this end in -Syria, where the craft still survives. - -[9] _Arch. Journ._, XI, 380. - -[10] Anvils. - -[11] Bickiron. - -[12] Sledge-hammer. - -[13] Pincers and tongs. - -[14] Tools for closing rivets. - -[15] Shears. - -[16] Bellows. - -[17] Rammer (bellows?). - -[18] Grindstone. - -[19] Spindles (?). - -[20] Bucket-hoops. - -[21] Winches. - -[22] Stone water-trough. - -[23] Hearth-stick, poker. - -[24] Cutting-iron, shears or cold-chisel. - -[25] Marking-iron. - -[26] _Archæologia_, XIV, 123; also Meyrick, _Antient Armour_, II, 119. - -[27] See page 109. - -[28] Rivets. - -[29] Round-horned anvil for making tubes. - -[30] For beating up a helmet-crest. - -[31] For visors. - -[32] Uncertain. - -[33] Helmet-stake. - -[34] For the cuirass. - -[35] Shears. - -[36] Heavy hammers. - -[37] hammers for greaves. - -[38] (?) - -[39] Riveting-hammer. - -[40] Embossing-hammer. - -[41] Files. - -[42] Poker. - -[43] Reprint (Clar. Press, Oxon, 1911), edited by Charles ffoulkes. - -[44] _Mém. rel. à l’hist. de France_ (Paris, 1866), p. 191, col. 1. - -[45] _Archæologia_, XVIII, 305. - -[46] Cott. MS., Vit. c. 10, fol. 154. - -[47] _Archæologia_, LVII, also _Arch. Journ._, IV, 226. - -[48] _Antiquarian Repertory_, IV, 367. - -[49] Pumice-stone. - -[50] Expenses of Sir Edw. Guilford, Master of the Armoury. - -[51] See also Appendix F. - -[52] _Arch. Journ._, XI. - -[53] Given in full, Meyrick, _Antient Armour_, III, 106. - -[54] A pick? (_Eng. Dialect Dict._) - -[55] Bottom stake. - -[56] For turning over edges of iron. - -[57] This shows that curved shears were also used. - -[58] Possibly a nozzle for bellows (_N. E. Dict._). - -[59] _Cabinet Cyclopædia_, “Manufacture of Metals,” Lardner, 1831. - -[60] _Burlington Magazine_, April, 1911. _Zeitschrift für -Historische Waffenkunde_, V, 10. - - - - -IRON AND STEEL - - -There is but little information to be obtained regarding the -actual materials used by the armourer. The chief source from -which he drew his supplies seems to have been Innsbruck. Why this -was so is not clear from the contemporary records, but we may be -sure that the German metal was harder and better tempered than -that of other countries, or there would not have been the demand -for it that there evidently was. In the various entries in the -State Papers Domestic we find specific mention of “Isebruk” iron, -and the merits of this metal must have been appreciated even in -Shakespeare’s time, for we have in _Othello_, v. 2, 253, “a sword -of icebrook’s temper.” In the earliest editions of the play the -word is “Isebrooke,” which is obviously the anglicized version of -Innsbruck.[61] - -Sheffield steel must have been appreciated as early as Chaucer’s -time, for the Miller carries a “Sheffield thwyrtel” (knife), and in -1402 the arrows used at the battle of Homildon were pointed with -Sheffield steel, so sharp that no armour could repel them. - -It is possible that the German iron-smelters had discovered the -properties of manganese, which hardens steel, and thus obtained a -superior metal to that produced in other countries. - -The discovery of steel was probably a fortuitous accident, due to -the fact that the first smelting-works were fuelled with charcoal, -which deoxidizes iron and turns some portion of the metal into -natural steel. The Germans themselves realized the superiority -of their material, for in 1511 Seusenhofer complained that his -merchant was not giving him good metal, and advised that it should -be classed as “Milanese,” so as not to lessen the fame of Innsbruck -iron. - -Till the seventeenth century English iron seems to have been -largely used for domestic purposes, for we find on examining -Professor Rogers’s _Agriculture and Prices_ that German iron is -never mentioned, but there are frequent references to English and -Spanish metal. The following prices from the above work show the -fluctuations in prices of iron in England. - - 1436. Spanish iron, 24 lb., 1s. 6d., or about £14 the ton. - 1462. Iron, 42 lb. at 5d., or £17 10s. the ton. - 1562. Raw English iron, £12 10s. the ton. - Bilbow (Bilboa), £11 8s. the ton. - Spanish, £12 the ton. - 1570. Iron gun-stocks, made up, £28 the ton. - 1571. Steel bar, £10 the ton. - Bar steel, £37 4s. the ton. - 1584. Spanish iron, £14 the ton. 50 bars to the ton, or about - 45 lb. to the bar. - 1622. Steel, £32 the ton. - 1623. Spanish iron, £14 10s. to £15 10s. - 1624. Iron bars of 24 lb. at £37 4s. the ton. - -These prices vary so greatly that we must be sure that there was a -great difference in the quality, and also in the state in which the -metal is delivered. In some cases there must have been a great deal -of preparation and finishing of the raw material to account for the -high price paid. - -In 1517 an entry in the State Papers Domestic, given on page 31, -states that 2541 lb. of Isebroke steel cost £26 12s., which gives -about £23 for the ton. - -In the _Sussex Archæological Journal_, II, 200, Walter Burrel -gives an account of Sussex ironworks in the seventeenth century. -He states that when once the furnace was lit it was kept going -sometimes for forty weeks, the period being reckoned in “foundays.” -During each founday eight tons were made with twenty-four loads of -charcoal. The metal was cast into “sows” weighing from 600 to 2000 -lb. He states that “they melt off a piece of the sow about three -quarters of a hundredweight and beat it with sledges near a fire -so that it may not fall to pieces, treating it with water they -thus bring it to a ‘bloom,’ a four square piece 2 ft. long.”[62] -Modern bar-iron 1 in. by 1 in. by 12 in. weighs 3.4 lb. Therefore -this bloom would approximately make a plate 33 sq. ft. by 1/16 in. -thick.[63] Even with these data it is impossible to tell the size -of the plates delivered to the armourer; for the appliances in the -Middle Ages were but crude, and it is doubtful if rolling-mills -were used in the sixteenth century. From the picture by Breughel, -given as the frontispiece, we know that tilt-hammers were in use, -but these would hardly have been used to flatten plates of any -great size. - -It would appear that iron in some localities was tainted with -some poison; for in a _Géographie d’Edrisi_ quoted in _Gay’s -Encyclopædia_, 699, reference is made to a mountain in Armenia -where the iron ore is poisoned and which, when made into knives -and swords, produced mortal wounds. It may have been that this -was actually the case, but it is more probable that it was an -invention of the owner of the mine designed to give his productions -a fictitious value. - -A few details of interest in connection with the manufacture of -iron in England may be gathered from the _Metallum Martis_ of Dud -Dudley, a natural son of Edward, Lord Dudley. The treatise was -printed in 1665 and refers to the author’s endeavours to interest -the Crown in his project for smelting iron with sea-coal instead -of wood or charcoal. In his address to the King (Charles II) and -Council he prefaces his technical remarks as follows:-- - -“Our predecessors in former Ages had both serious Consultations -and Considerations before they made these many Wholesome and Good -Lawes for the preservation of Wood and Timber of this Kingdome. -1 Eliz. 15, 23 Eliz. 5, 27 Eliz. 19, 28 Eliz. 3, 5.... Therefore -it concerns His Sacred Majesty, his high Court of Parliament ... -to lay it to heart and helping hands upon fit occasions in these -laudable Inventions of making Iron & melting of mines and refyning -them with Pitcoal, Seacoal, Peat, and Turf; ... for maintenance -of Navigation, men of War, the Fishing and Merchants trade, which -is the greatest strength of Great Britain ... whose defence and -offence next under God consists by his sacred Majestie’s assisting -care and view of his men of War ... Ordinance of Copper, Brass and -Iron, Armories, Steels, and Irons of all sorts.” - -[Illustration: _PLATE X_ - -HELMETS OF HENRY VIII - - 1, 2. FRONT AND BACK OF HELMET BY THE MISSAGLIAS - - 3, 4. ” ” ” PART OF THE SUIT SHOWN ON PLATE XII, BY - CONRAD SEUSENHOFER - - 5. BEVOR FOR THE LATTER - - THE ARMOURER’S MARKS APPEAR ON 2 AND 4] - -In his letter to the King he mentions Shippings, Stores, Armories, -Ordnance, Magazines, and Trade. He mentions several counties as -mining centres, but does not include Sussex or Shropshire. The -first of these two was probably ruled out, as the industry there -depended on the use of wood, against which Dudley’s introduction -of coal was levelled. We find Shropshire mentioned in the Trial of -Armour given in the chapter on “Proof” (page 66). - -Dudley seems to have formed a company in May, 1638, into which he -took one Roger Foulke, “a Counsellor of the Temple and an ingenious -man,” as partner. - -Before this his father, Lord Dudley, had employed a certain Richard -Parkes or Parkhouse to carry iron merchandise to the Tower, which -James I ordered to be tested by his “Artists,” that is, of course, -his armourers. Parkes made a sample fowling-piece of the new -“Dudley Ore,” smelted from pit-coal, and signed his name in gold -upon the barrel. The gun was taken from him by Colonel Levison and -was never returned. - -Dudley gives three qualities of iron: grey iron, the finest, and -best suited for making bar-iron; motley iron, a medium quality; and -white iron, the least refined. - -It is curious that in all his calculations and specifications he -never actually mentions the making of armour and but seldom the -casting of ordnance. - -In considering the weights of suits as given in Appendix J we find -the following details. By the prices given 20 cwt. make one ton. -The cwt. at the time of James I was 112 lb. - -Now we are told that “Sixe hundred of iron will make five hundred -of plates,” so we gather that in turning the pig-iron into plates -one hundredweight was lost. The above entries give the following -weights per suit or portion of a suit scheduled:-- - - Five hundred (weight) of plates will make 20 cuirasses - of pistol proofe with pauldrons. - Therefore one set will weigh 28 lb. - - Four hundred (weight) of plates will make 20 pair (or 40 - sets) of cuirasses without pauldrons. - Therefore one set will weigh 11 lb. 3 oz. - - Sixteen hundred (weight) of plates will make 20 lance-armours. - Therefore one lance-armour[64] will weigh 89 lb. 10 oz. - - Five hundred (weight) of plates will make 20 proof - targets. - Therefore one target will weigh 28 lb. - - Twelve hundred (weight) of plates will make 20 pairs - (40 sets) of strong cuirasses with caps. - Therefore one set of cuirass and cap will weigh 33 lb. 10 oz. - -Four “platers” will make up 3700 weight or 37 cwt. of plates in one -week, therefore one plater will make up 9 cwt. 28 lb. in a week or -1 cwt. 57 lb. or thereabouts in one day. - -For comparison with existing suits of which the weights are known -we may use the following details:-- - - lb. oz. - Paris (G, 80), _circ._ 1588. Cuirass, arm-pieces, - and tassets 73 0 - Head-piece 22 0 - ------- - 95 0 - - Stanton Harcourt, Oxon, _circ._ 1685. Cuirass 25 0 - Head-piece 22 10 - Arm-pieces (2) 6 0 - ------ - 53 10 - - Tower (II, 92), _circ._ 1686. Cuirass 27 4 - Head-piece 7 8 - Long gauntlet 3 0 - ------- - 37 12 - - Tower (II, 92), of XVII cent. Cuirass 24 0 - Head-piece 6 8 - The whole of this suit weighs 48 8 - -It should be noted that two of the items in the Appendix are -described as of “proof” and one is described as “strong.” The -lance-armours are not qualified in any way, but from their weight -they must have been proof against musket or arquebus. - -It is impossible to discover what size the “plates” were made -before they were handed over to the armourers. The largest single -plate in the Tower is a portion of the horse-armour of II, 5, known -as the “Engraved Suit.” This piece measures 27½ in. at top and -28½ in. at bottom by 17 in. and 18½ in. high, or roughly speaking -28½ in. by 18½ in., about 1/16 in. thick, weighing about 6 lb. -4 oz. If the numbers given on page 41 represent plates and not -hundredweights, each plate 1/16 in. thick would be 6 in. by 11 -in., and this is obviously absurd. It is more likely that, with the -crude appliances in use, an ingot of metal was beaten out into such -a plate as the weight of the ingot might give, larger or smaller -as the case might be, and not standardized in any way. Dud Dudley -writing in 1665 describes the methods of ironworkers before his -introduction of sea-coal. - -“They could make but one little lump or bloom of Iron in a day, not -100 weight and that not fusible, nor fined, or malliable, until it -were long burned and wrought under hammers.”[65] - - -FOOTNOTES: - -[61] The quotation continues: “a sword of Spain.” We find -many Solingen and Passau blades bearing the marks of Spanish -sword-smiths. - -[62] This would be a piece about 2 ft. by 3½ in. by 3½ in. - -[63] Large plates of horse-armour are about 1/16 in. thick. - -[64] For particulars of “lance-armour” see Appendix I. - -[65] _Metallum Martis_, p. 37. - - - - -THE CRAFT OF THE ARMOURER - - -The actual craft-work of the armourer differed but little from -that of the smith, but there are some details which the armourer -had to consider which were not part of ordinary blacksmith’s work. -There are no contemporary works of a technical nature, and our -investigations can only be based on actual examination of suits, -assisted by scattered extracts from authorities who mention the -subject in military works. In 1649 J. Cramer printed a work, _De -Armorum Fabricatione_, but it throws no light upon the subject and -quotes from Roman authorities. - -In the first place, the making of mail was a distinct craft which -had no counterpart in other branches of smithing. At first the wire -had to be beaten out from the solid, and thus the few fragments -which remain to us of early mail show a rough, uneven ring of -wire, clumsily fashioned and thicker than that of later dates. -The invention of wire-drawing is generally ascribed to Rudolph -of Nuremberg, about the middle of the fourteenth century,[66] -but there were two corporations of wire-drawers in Paris in the -thirteenth century mentioned in Étienne Boileau’s _Livre des -Métiers_, written about 1260. - -[Illustration: _PLATE XI_ - -BRIGANDINE, OUTSIDE AND INSIDE. XV CENT. - -BREASTPLATE FOR BRIGANDINE, 1470, SHOWING ARMOURER’S MARK - -RIGHT CUISSE OF ARMOUR FOR BARRIERS SHOWING ARMOURER’S MARK] - -When the wire was obtained, either hammered out or drawn, it was -probably twisted spirally round a rod of the diameter of the -required ring. It was then cut off into rings, with the ends -overlapping. The two ends were flattened and punched or bored with -holes through the flat portion. A small rivet, and in some cases -two, was then inserted, and this was burred over with a hammer or -with punches (Fig. 15, 18; also Plate IV). It is possible that some -kind of riveting-pincers were used, but no specimens of this kind -of tool are known.[67] Sometimes the ends of the rings are welded, -which would be done by heating them and hammering them together. -Before the rings were joined up they were interlaced one with -another, each ring passing through four others. Occasionally, -to obtain increased strength, two rings were used for every one -of the ordinary mail, but representations of this double mail are -rare. The terms “haubert doublier,” “haubert à maille double,” and -“haubert clavey de double maille” are found in French inventories, -and in the inventory of Louis X which has been quoted before we -find “33 gorgieres doubles de Chambli, un pans et uns bras de -roondes mailles, une couverture de mailles rondes demy cloies.” -These different items suggest that there were various ways of -making mail and of putting it together. The double mail has been -noticed, and the mail “demy cloues” was probably mail in which -the ends of the links were closed with only one rivet. The “maile -roond” being specially scheduled points to the fact that sometimes -mail was made of flat rings, but whether cut from the sheet of -metal or merely of flattened wire it is impossible to say. - -[Illustration: FIG. 18. Method of making mail.] - -Where the covering of mail was not made in one piece--that is, -when the shirt, leggings, sleeves, or coif were made to open--they -were fastened by laces. The chausses, or leggings of mail, were -often laced at the back of the leg, as is shown in the sketch-book -of Wilars de Honecourt, thirteenth century, figured in _Armour -and Weapons_ (Plate I) by the present author. The coif of mail -was generally kept close to the head by a thong round the temples -(Fig. 23, 8), and was in some instances fastened in front with an -overlapping flap and a lace (Fig. 20). - -[Illustration: FIG. 19. Sculptured representation of (1) double and -(2) single mail on the effigy of R. de Mauley, 1242, formerly in -York Minster (_Archæologia_, XXXI).] - -The Camail, or tippet of mail, which is the distinctive detail of -the armour of the late fourteenth and early fifteenth century, was -either hung from a flat plate of metal which was fitted over the -vervelles or staples on the bascinet and kept in place by a lace -or a thick wire, or the mail itself was hung over the vervelles and -the plate fitted over it and secured in the same way. This latter -method appears to have been more commonly in use, to judge from -sculptured effigies and brasses. A bascinet in the Ethnological -Museum, Athens,[68] shows the vervelles, plate, and wire that -secured it still in place, but the mail has all corroded and -disappeared. A good restoration of the camail on a bascinet with a -leather band instead of a flat plate is to be found in the Wallace -Collection (No. 74). - -[Illustration: FIG. 20. Coif of Mail, (1) Effigy of William -Mareschal, Earl of Pembroke, Temple Church. (2) Effigy in Pershore -Church, Worcs. (from Fairholt).] - -In the thirteenth century we find one of the most unpractical of -all the armourer’s contrivances in the nasal flap-hinged or laced -to the camail, hanging down over the chin when not in use, and -fastened, when required, to the bascinet by a pin or hook. The -nasal of the eleventh century, figured on the Bayeux Tapestry and -elsewhere, was practical because it provided a defence for the nose -and face which was as rigid as the helmet itself; but this later -nasal could only protect the wearer from the actual cutting of -the skin, for the full force of the blows would be felt almost as -much as if there were no defence at all. These nasals are figured -so frequently in Hewitt, Hefner, and elsewhere that no special -illustration is necessary in the present work. - -A variety of mail which, from the sculptured effigies and from -miniatures of the thirteenth century, appears to have been in high -favour, has come to be known as “Banded Mail.” - -[Illustration: FIG. 21. Attachment of Camail, effigy of Sir R. -Pembridge, Clehonger Church, Hereford. - -FIG. 22. Attachment of Camail.] - -In both painted and sculptured records the methods of -representation differ considerably from those employed to suggest -the ordinary mail of interlaced rings. - -In the middle of the last century, when the subject of armour began -to be seriously studied, this banded mail was the subject of many -theories and suggestions. Meyrick considered that it was composed -of rings sewn on to a fabric, overlapping each other sideways; but -a practical experiment will prove that such an arrangement would be -impossible, as the weight would be excessive and the curve of the -body would cause the rings to “gape.” Other writers have considered -that the same arrangement of rings, covered with leather which -would prevent the “gaping,” is the correct solution; but here again -the heat would be a grave drawback.[69] - -[Illustration: FIG. 23. Banded Mail. - - 1, 2, 3. Suggested reinforcements of chain mail by leather thongs. - 4. Rings covered with leather; 5, section of same. - 6. Meyrick’s suggestion; 7, section of same. - 8. From _Romance of Alexander_, Bib. Nat., Paris, _circ._ 1240. - 9. Effigy at Newton Solney, Derbs; 10, section of same.] - -An important point on all representations of banded mail is that, -when part of the garment is shown turned back, the back is the same -as the front. The most practical suggestion was put forward by the -late J. G. Waller,[70] who considered that it was simply chain mail -with leather thongs threaded through every row or every alternate -row of links. This would give a solidity to an otherwise too-pliant -fabric, and would keep the mail in its place, especially on the -arms and legs. It would also show the same arrangement of rings -back and front. - -The drawing from the _Romance of Alexander_ goes far to prove that -Waller’s theory is the right one, for here the thongs are not -shown on hands and head, where greater pliability of the mail was -required, and yet these defences appear to be part of the same -garment which shows the “banded” lines. - -It is almost superfluous to add that no specimen of this kind of -defence survives to-day, but Oriental mail is sometimes found -stiffened in this manner with leather thongs. - -The wearing of mail survived longer than is generally supposed. -Holinshed, writing in 1586 (page 90 of the present work), -mentions shirts of mail as part of the ordinary equipment of the -foot-soldier. On Plate 8 of Derricke’s _Image of Ireland_ the -mounted officer wears mail sleeves, and in an inventory of Hengrave -Hall, Suffolk, taken in 1603, we find gorgets and shirts of mail, -and barrels for cleaning the same. Edward Davies, writing in 1619 -(_The Art of Warre_), distinctly states that the arquebussiers wore -a shirt of mail (see page 115). - -[Illustration: _PLATE XII_ - -ARMOUR PRESENTED TO HENRY VIII BY THE EMPEROR MAXIMILIAN, MADE BY -CONRAD SEUSENHOFER, 1514] - -The Brigandine and splinted armour were made by riveting small -plates or horizontal lames on to a fabric foundation. In the former -the fabric was outside, and rich ornamentation was obtained by the -gilt rivet-heads which held the plates to the outer covering (see -page 150). In the latter case the metal was on the outside and -was riveted on to a foundation of linen. In some cases the rows -of small plates are divided by strips of fine mail. There was no -particular craft needed in making the brigandine, but the metal -used was often of proof and was marked with the maker’s name to -attest it. - -As may be seen on Plate XI and Fig. 36, the small plates of the -brigandine are wider at the top than at the bottom, and overlap -upwards. The reason for this is that the human torse is narrower at -the waist than at the chest, and the plates could not overlap each -other and yet conform to the lines of the figure if they overlapped -downwards. - -[Illustration: FIG. 24. Figure wearing Jack (from _Chasse of S. -Ursula_, by Memling, 1475-85, Bruges).] - -Although lighter and more pliable defences than the cuirass, the -brigandine and jack were very effectual for protection against -arrows, for we find, according to Walsingham,[71] that the rioters -under Wat Tyler shot at a jack belonging to the Duke of Lancaster, -but were unable to damage it, and eventually cut it to pieces with -swords and axes. - -The jack or canvas coat of Sir John Willoughby, _temp._ Elizabeth, -now at Woolaton Hall, is formed of stout canvas inside and out -stuffed with two layers of tow with horn discs in between. The -whole is kept together by a series of lacings which appear on the -outside as lines and triangles of the same kind as those shown on -Fig. 25. It is composed of six panels, two for the breast, two -for the back, and two small ones for the shoulders. A portrait of -Willoughby in the Painted Gallery at Greenwich shows such a jack -with red cords. The jack was generally lined with metal plates and -examples of this may be seen in the Tower (III, 335, 336). These -are also made up of six panels and weigh about 17 lb. each. They -are composed of about 1164 metal plates[72] (Fig. 25). In the -Shuttleworth accounts published by the Chetham Society are to be -found entries of 9¼ yards of linen to make a “steel coat,” a pound -of slape or pitch, two dozen points or laces for two coats, and -1650 steel plates. The cost of the coat, inclusive of making, would -come to about £1. A cap, constructed in the same manner of small -plates, is shown in the Burges Collection at the British Museum and -is figured in the _Guide to the Mediæval Room_ on page 62. - -[Illustration: FIG. 25. Construction of Jack. - - A. Outside. - B. Plates with cover and cords removed.] - -[Illustration: FIG. 26. Brigandine at Vienna, No. 130.] - -The brigandine was sometimes reinforced with large placcates of -steel, one on each breast, riveted to the fabric which composed -the whole defence. An example of this nature exists in the -Waffensammlung at Vienna, and there are also several of these -reinforcing plates, the brigandines of which have perished, in -the Ethnological Museum at Athens (Fig. 26). These latter were -found in the castle of Chalcis, which was taken by the Turks from -the Venetians in 1470, so they can be dated with accuracy.[73] On -one of the plates is a mark which strongly resembles the mark of -Antonio Missaglia (see Plates XI, XVI). These brigandines with -solid breast-pieces are described in Appendix D, page 177. Both -these plates and the example at Vienna are fitted with lance-rests -which seem to be eminently unpractical, as the garment is more or -less pliant and would not be of much use in sustaining the weight -of a lance. The most curious of these reinforcing plates is to -be found in the picture of S. Victor by Van der Goes, _circ._ -1450, which is now in the Municipal Gallery at Glasgow. Here the -uppermost part of the torse is protected by strong plates of steel, -but the abdomen is only covered by the brigandine (Fig. 27). -As an example of this fashion of armour and as a most careful -representation of detail this picture is as valuable as it is -unique. Splinted armour is practically the brigandine without a -covering, but made usually of stronger plates or lames. The fact -that the body was covered by a series of small plates ensured -greater freedom and ease in movement than was possible with solid -breast and back plates. The monument in Ash Church and the statue -of S. George at Prague are good examples of the splinted armour of -the fourteenth century (Figs. 28, 29). - -[Illustration: FIG. 27. S. Victor, by Van der Goes, Glasgow.] - -[Illustration: FIG. 28. Effigy at Ash Church, Kent, fourteenth -century.] - -That the skill of the sixteenth-century armourer surpassed that -of the present-day craftsman is evident after careful examination -of some of the triple-combed Burgonets and Morions of the middle -of the century. They are often found forged in one piece with no -sign of join or welding, and what is more remarkable still, there -is but little difference in the thickness of the metal all over -the piece. Now, when a smith hollows out a plate of metal into a -bowl-like form, the edges are generally thicker than the inside of -the bowl; but in many of these head-pieces the metal is almost of -equal thickness all over, a _tour de force_ which few metal-workers -to-day could imitate.[74] This thinning of the metal was utilized -to a great extent in the different portions of the suit which -were not exposed to attack. As will be found in the chapter on -“Proof,” the back-plates were generally thinner than the breasts. -In jousting-helms the top of the skull, which, from the position -of the rider when jousting, was most exposed to the lance, was -generally much thicker than the back of the helm, where there was -no chance of attack. - -[Illustration: FIG. 29. Statue of S. George, Prague, 1375.] - -Again, the left side of both jousting and war harness is frequently -thicker than the right, for it was here that the attack of both -lance and sword was directed. Up to the middle of the fifteenth -century the shield, hung on the left arm, was used as an extra -protection for this the more vulnerable side of the man-at-arms, -but it seriously interfered with the management of the horse. By -the sixteenth century it was discarded and the armour itself made -stronger on the left side both by increased thickness and also by -reinforcing pieces such as the Grandgarde, the Passgarde, and the -Manteau d’armes. - -[Illustration: FIG. 30. Sliding rivet showing (1) front, (2) side, -(3) back.] - -Perhaps the most ingenious contrivance used in making the suit of -armour is the sliding rivet (Fig. 30). This contrivance has come to -be called the “Almain rivet” in modern catalogues in a sense never -found in contemporary documents. In these documents the “Almain -rivet” is a light half-suit of German origin, made up of breast, -back, and tassets, with sometimes arm-pieces. The word “rivet” was -employed in the sixteenth century for a suit of armour, for Hall -uses the word frequently in his Chronicles. This word is therefore -more probably derived from the same root as the French _revêtir_, -rather than from the rivets which were used in the making of the -suit. Up to the sixteenth century the rivet as we know it to-day -is always called an “arming-nail,” and it is only in the middle of -the sixteenth century that we find the word rivet used as part of -the armourer’s stock-in-trade. These light suits were put together -with sliding rivets, which have at the present day received the -name originally given to the whole suit. The head of the rivet is -burred over and fixed in the upper plate, but the lower plate is -slotted for about three-quarters of an inch, so that it will play -up and down on the shank of the rivet and give more freedom of -action than the fixed rivet; at the same time it will not allow the -two plates to slide so far apart as will uncover the limb or body -of the wearer. These sliding rivets were used to join the upper and -lower portions of the breastplate which was in fashion in the last -years of the fifteenth century, so as to allow a certain amount -of movement for the torse backwards and forwards. They were also -employed to join the taces, which needed a certain amount of play -when mounting a horse or when sitting. When the “lobster-tail” -cuisse superseded the taces and tassets in the late sixteenth and -seventeenth centuries they were used instead of the fixed rivets -for joining the lames of the cuisse. - -[Illustration: _PLATE XIII_ - -ARMET OF SIR HENRY LEE, BY JACOB TOPF, 1530-1597] - -The most ingenious arrangement of sliding rivets, however, is to -be found on the brassards of the late fifteenth to the seventeenth -century. As has been noticed on page 6, the armourer had to -consider in this case both the defensive needs of his patron -and also the necessity for using his arm as conveniently as was -consistent with safety. - -Now the only actions needed for the right arm are those of holding -the lance in rest and of striking with the sword. The arm-defence -therefore had to be so constructed that the arm could be bent for -the former and raised for the latter. To do this the lames of the -rerebrace are joined with sliding rivets at the hinder corners, -but at the front corners they are joined with a strap fastened -vertically to the top plate of the brassart and riveted, when -extended straight, to each lame. - -This allows play for the lames in the two above-mentioned -positions, but when the arm is dropped, after the blow has been -delivered, the lames automatically close one over the other and -completely protect the arm and allow no backward movement. - -The same arrangement is found on the laminated cuisses and tassets, -in which the inner edges of the lames are joined by a strap and -the outer by sliding rivets. This combination of sliding rivet and -strap is shown on Fig. 7 and on Plate IX. - -Another ingenious arrangement on the brassard is the turned-over -edge or the embossed rim fitting in a collar, both of which allow -the lower part of the rerebrace to turn horizontally to adapt it to -the outward action of the hand and arm. In most suits the bossings -of the rims are outside, but on the “Engraved Suit” (II, 5) in -the Tower they are inside. The former gives a smooth surface to -the wearer’s arm and the latter presents a smooth surface to the -opposing weapon (Fig. 31). - -[Illustration: FIG. 31. Sections of Rerebraces. - - 1. “Engraved Suit,” Tower, II, 5, 1514. - 2. Tower, II, 6, 1540. - 3. Tower, II, 7, 1570. - 4. Wallace Collection, 340.] - -A similar rim and collar are found on close helmets and gorgets -of the sixteenth century (Plate XIII). Meyrick,[75] misreading -Fauchet’s[76] reference to the burgonet, considered this helmet -with a lower edge fitting into the gorget to be the burgonet, but -he brought no real evidence to support his assertion. Although -the helmet and gorget fitted one over the other and therefore -surmounted one of the chief dangers in war or joust, when the lance -might penetrate the space between these two portions of the suit, -it will be seen on examination of any suit of this kind that from -the oblique position of the gorget the embossed rim of the helmet -could not possibly turn in the hollowed rim of the gorget, so that -it can only be considered as a defensive improvement which in no -way added to the convenience in use, if anything it rather hampered -the wearer, as he could only turn his head inside the helmet and -that to no great extent. In some late suits a pin fixed at the back -of the gorget comes through a hole in the lower edge of the helmet -and _prevents_ any possible movement. - -It is almost superfluous to mention the straps which join the -various portions of the suit. These are always placed, where -possible, in positions where they are protected from injury; as, -for example, on the jambs they are on the inside of the leg, next -to the horse when the wearer is mounted, and the hinge of the jamb -being of metal is on the outside. In some cases the end of the -strap after being buckled fits into a “shoe” bossed out of the -armour plate (Fig. 33). - -[Illustration: FIG. 32. Locking Gauntlet of Sir Henry Lee, -Armourers’ Hall, London.] - -It is practically impossible to notice the various forms of turning -or locking pins used for joining parts of a suit. The general -principle is that of a turning rivet with a flat, fan, or hook -shaped head which, fitting into an oblong slot in the upper plate, -can be turned at right angles to hold the two plates together. -There are many varieties of this fastening, based upon the same -principle, but those existing at the present day are often modern -restorations. In suits for the joust or tourney these adjustable -fastenings could not always be depended upon, and the great helm, -the manteau d’armes, and the passgarde were often screwed on to the -suit with square or polygonal headed bolts tightened with a spanner. - -The gauntlet was sometimes capable of being locked, for the -unfingered flap which covered the fingers was prolonged so as to -reach the wrist, where it fastened over a pin. This was used in -foot jousts to prevent the weapon from being struck out of the -hand and is sometimes called the “forbidden gauntlet,” an absurd -term when we consider that many fine suits are provided with this -appliance, which would not be the case if its use were not allowed -(Fig. 32, also Plate XXII). - -[Illustration: FIG. 33. Locking hooks, turning pins, and -strap-cover.] - -A few of the fastenings used to hold the different parts of the -suit together are shown on Fig. 33. The hook (No. 1) is found on -the armets made by Topf (page 21 and Plate XIII). Here the hook A -is shown in position fastening the visor over a button D. When it -is necessary to open the visor a leather thong which was attached -at C is pulled and at the same time the button F is pressed. This -depresses a spring riveted to the visor at G and projecting with a -small tongue at E. The depression of E allows the hook to be moved -back and the visor to be raised. When the hook is moved forward to -close the visor the tongue E springs up and locks the whole firmly. -No. 2 of the same figure is another contrivance for locking plates -together, and is found on 695, Wallace Collection, and elsewhere. -C C C is the section of the armour plate. The hook is pivoted -at C and is fitted with a spring at D. When the leather lace at -A is pulled the tongue of the hook B is brought back flush with -the plate C and allows the visor to be raised. When the visor is -closed the hook springs back to its position and locks the plates -together. No. 3 is a catch of the same kind, but is worked by a -spring of the same kind as that which locks the “Topf” hook. The -pressing of the button A sets back the hook B, which is riveted to -the plate at D. No. 4 is a “spring pin,” or “federzapfen” as they -are called in German and “auberon” in French. The small flange let -into the pin is kept pressed outwards by a spring and is pressed -back to slip the pauldron, in which is a hole cut for the purpose, -over the pin. No. 5 shows a series of turning pins which are -riveted to the lower plate in taces, cuisses, tassets, etc., but -can be turned at will. The upper plates that are fastened by these -pins are pierced with narrow oblong slits through which the flat -head of the pin can be passed; a turn at right angles locks the two -plates closely. No. 6 is an ingenious contrivance found on 1086, -Wallace Collection. The armour plate is bossed upwards to form a -covering for the free end of the strap when buckled, to prevent the -chance of this loose piece of leather being cut off or of hindering -the wearer in any way. - -[Illustration: FIG. 34. Bracket for jousting-sallad and reinforcing -bevor, Dresden, C, 3, 4.] - -On Fig. 34 is shown the support for the jousting-sallad, without -which it was always liable to be struck off. It is screwed with -wing nuts to the crest of the sallad and to the back of the -cuirass. The reinforcing piece for face and breast of the same -nature as the mentonnière and grand-guard. These various methods of -fastening plates together can be only studied to advantage by -careful examination of actual suits, and even here there is always -the chance that they may be modern restorations. Perhaps the most -elaborately contrived suit in existence is that made for Henry VIII -for fighting on foot in the lists (Tower, II, 28). This covers the -wearer completely with lames back and front, and allows as much -movement as is possible in a suit weighing 93 lb. (Plate VIII). It -is composed of 235 separate pieces, all of different form. There -are similar suits in the Musée d’Artillerie, Paris (G, 178, 179) -of a more ornate character. The cuisse of one of these suits is -shown on Plate XI and the inside of the cuisse of the Tower suit -on Plate IX. While dealing with this question of the pieces that -compose a suit, it should be noted that the “Leicester” suit in the -Tower (II, 10) is made up of 194 pieces, and a suit at Madrid (A, -164, the “Muhlberg” suit of Charles V) requires one mounted and six -unmounted figures to show it off completely. - -[Illustration: _PLATE XIV_ - -PARADE ARMOUR - - 1. FOR KING SEBASTIAN OF PORTUGAL, BY ANTON PEFFENHAUSER, 1525-1603 - 2. FOR CHARLES V, BY BARTOLOMEO CAMPI, 1546] - - -THE MAKING OF ARMOUR IN ENGLAND, FROM CONTEMPORARY DOCUMENTS - - 1321. Edward II sends David le Hope, armour-smith, to Paris to - learn the method of making sword-blades for battle. - - 1322. Regulations concerning the covering of helmets with fabric - and the selling of old and broken helmets. _Arm. Co., Lond._ (see - Appendix A). - - 1347. Regulations of the Heaumers’ Co. _City of London Letter - Book, F, fol. cxlii_ (see Appendix B). - - 1355. The Mayor and Sheriffs of London ordered to appraise the - armour in the armourers’ shops. _Rymer, III, v_, 817. - - 1365. The armourers of London are in full work, but the results - are not satisfactory. The King (Edward III) insists on proof or - trade marks. “Certa signa sua super omnibus operationibus suis - ponant.” _Rymer, III_, 772. - - 1386. Armourers are forbidden to increase the prices of their - wares. _Rymer, III_, 546. - - 1408. Oct. 12. Petition to the Mayor and Aldermen of London - against foreign importers who use marks similar to English marks, - and praying to keep the price fixed and regulated by the masters - of the cutlers and bladesmiths jointly. Agreed to by the Mayor. - _City of London Letter Books, 1, fol. lxxi._ - - 1434. This is very similar to the Ordinances of the Hastings MS. - noticed in _Archæologia_, LVII. It is given here in full, as - it is the only literary effort of an armourer that is known in - England. _Treatise on Worship in Arms_, by Johan Hill, armourer - (Bod. Lib. Ash., 856) (see Appendix C). - - 1436. Proclamation forbidding the armourers to increase their - prices. _Fœdera_, Rymer, X, 647. - - 1509. Sir Nicholas Vaux, Lieutenant at Guisnes, orders all the - garrison to be English except gunners, crossbow-makers, spies, - beer-brewers, armourers, and smiths. _Cal. State Papers, Hen. - VIII, Vol. I._ - - 1511. Payments made for a forge for Milanese armourers at - Greenwich. - - 1514. The armourers from Brussels are installed by Henry VIII at - Greenwich. - - 1515. Almain or German armourers mentioned as King’s servants. - - 1544. A complete account of the charges of the King’s Armoury, - with wages of the workmen. _Brit. Mus., Cott. App. XXVIII_, 75 - (see Appendix F). - - 1556. Sir John Mason reports to the Council that he has obtained - 50 fardels of plate for harness provided by the Schorers from - Augsburg. In _Considerations delivered to Parliament in 1559_ - it is suggested “that iron mills be banished out of the realme, - where wood was formerly 1d. the load at the stalk now by reason - of the iron mills it is 2/- the load. Formerly Spanish iron was - sold for 5 marks the ton now there are iron mills English iron is - sold at 9/-.” This may be the key to the question of importation - of armour ready made. Evidently the use of wood in iron-smelting - presented a serious difficulty. As may be seen in the chapter on - Iron (p. 40), the use of wood in the furnaces was considered a - grave danger, as it took material which should have been used for - shipbuilding. The English forests were limited and had not the - vast acreage of the German woods, so that the deforestation was - merely a question of time. - - 1578. Inquiry as to a dispute between the armourers and - blacksmiths as to right of search for armour, etc. The judges - state that “the Armourers did show us that King Edward the Second - did grant to the Lord Maior and his bretheren the searche with - the armourers.” _Records Arm. Co., London._ - - 1580. Sir Henry Lee made Master of the Armouries. - - 1590. Petition of the armourers of London to Queen Elizabeth - against the importation of foreign armour and workmen. _Lansdowne - MS._, 63, 5 (see Appendix G). - - 1611. Survey and inventory of all armour, etc., in the armouries - of the Tower, Greenwich, and Windsor in the late custody of Sir - Henry Lee, deceased, and now of Sir Thos. Monson, Master of the - Armoury. _State Papers Domestic, Jac. I, lxiv, June 8._ - - 1614. Warrant to pay to Wm. Pickering, Master of the Armoury at - Greenwich, £200, balance of £340, for armour gilt and graven for - the late Prince. _Sign. Man., Vol. IV_, 29. - - This suit, made for Henry, Prince of Wales, is now in the Royal - Collection at Windsor (see Plate XX). - - 1618. Undertaking of the Armourers’ Company to make certain - armours every six months and the prices of the same. _Records of - the Armourers’ Company of London_ (see Appendix H). - - 1619. Proclamation against the excessive use of gold and silver - foliate except for armour and ensigns of honour. _S.P.D. Jac. I, - cv, Feb., Proclamations_, 65 (see Appendix I). - - 1621. Gild of Armourers and Smiths incorporated at Shrewsbury by - James I. The “Arbor” of the Gild existed at Kingsland in 1862. - The Gild carried a figure of Vulcan dressed in black armour in - their processions. Their motto was “With hammer and hand all - hearts do stand.” The armour is in the Museum at Shrewsbury. - _Reliquary, Vol. III._ - - 1624. Erection of plating-mills at Erith by Capt. John Martin. - _S.P.D. Jac. I, clxxx_, 71 (see Appendix J). - - 1625. Falkner asks for an inquiry as to the condition of the - Royal Armouries. _S.P.D. Car. I, xiii_, 96. - - 1627. Report of George, Earl of Totnes, on Falkner’s petition - advising John Cooper, Keeper of the King’s Brigandines, to - surrender his patent. _S.P.D. Car I, liv_, 1. - - Cooper refuses to surrender unless his arrears of 16d. a day for - a year and a half are paid. _S.P.D. Car. I, lv_, 70. - - 1627. Petition of Falkner (Fawcknor) as to the condition of the - armouries. _S.P.D. Car. I, lxxxiv_, 5. - - 1628. Order to gun-makers, saddlers, and cutlers to bring - patterns of their wares. _S.P.D. Car. I, xcv_, March 10. - - 1628. Whetstone’s project to make armour lighter and as good as - proof. _S.P.D. Car. I, lxxxix_, 23. No details as to the process - are given in this entry. - - 1630. Inquiry into the work done in the State armouries of the - Tower, Greenwich, etc., with lists of the Remaines, moved by - Roger Falkenor. _S.P.D., clxxix_, 65. The whole of this document - is given in _Antient Armour_, Sir S. Meyrick, III, 78. - - 1631. Regulations respecting the use of a hall-mark by the - Armourers’ Company. _Rymer, XIX_, 309 (see Appendix K). - - 1635. Petition of the Workmen Armourers of London who are now old - and out of work. _S.P.D. Car. I, cclxxxix_, 93 (see Appendix L). - - 1636. Benjamin Stone, blade-maker, of Hounslow Heath, states - that he has, at his own charge of £6000, perfected the art of - blade-making, and that he can make “as good as any that are made - in the Christian world.” _S.P.D. Car. I, cccxli_, 132. - - 1660. A survey of the Tower Armoury and the Remaines contained - therein. This was taken after the Civil War and shows that much - of the working plant had been scattered. _Harl. MS._ 7457 (see - Appendix M). - - 1666. “Armour of the Toyras provision with headpeeces whereof - made in England to be worn with the said armes.” _Tower Inv. sub - ann._ Meyrick considers that this was made at Tours, but brings - no evidence to support his statement. It may have been part of - the equipment of the infantry under Marechal de Toiras, who - assisted Charles I against the Huguenots in La Rochelle in 1625. - Several breastplates in the Tower are stamped “Toiras.” - - 1666. Col. Wm. Legge appointed Master of the Armoury. Legge was - Governor of Chester in 1644, Governor of Oxford in 1645, was - offered and declined an earldom by Charles II, and died in 1672. - His eldest son was created Baron Dartmouth. - - 1685. An ordinance of James II that all edged tools, armour, and - all copper and brass made with the hammer in the city of London - should be approved by the Armourers’ Company. _Records of the - Company._ - -[Illustration: _PLATE XV_ - -ALEGORIA DEL TACTO, BY JAN BRUEGHEL, CIRC. 1600 - -PRADO, MADRID] - -There are no details relating to the lives of any of the known -English armourers that are worth recording. Pickering, the pupil -of Topf, was the most celebrated, and the record of his position -of Master of the Armourers’ Company will be found under that -heading. John Blewbery, whose name occurs in several entries in -the Letters and Papers Foreign and Domestic, seems to have been -merely the master-workman, and we have no evidence that he attained -to a higher position. His name does not appear in the existing -records of the Armourers’ Company. Asamus or Erasmus Kyrkenor -first appears in a list of payments in 1518. He was employed to -make candlesticks and for “garnishing books” with clasps, etc., -in 1529, when presumably there was a slack time in the armouries. -There are further entries of this nature in 1530, 1531, and 1532, -in which year he “garnished” eighty-six books. In 1538 he was made -Brigandarius to the King, vice John Gurre, deceased; but we find -no details as to the duties of this office, which was continued to -the reign of Charles I, when it became the subject of a complaint -from Roger Falknor (Appendix J). In 1547 we find Erasmus in charge -of the Greenwich Armoury, and in 1593 a note of the will of Wm. -and Robt. Mighill states that they were the grandsons of Erasmus -Kirkenor, deceased. - -A list of English armourers is given on page 126. - - -FOOTNOTES: - -[66] _The History of Inventions._ Beckman. - -[67] See _Dover Castle Inventory_, p. 25. The “nailtoules” may have -been used for this purpose. - -[68] _Archæologia_, LXII. - -[69] _Arch. Journ._, XXXVII. - -[70] _Archæologia_, LIX. - -[71] _Historia Anglicana_, Rolls Series, p. 457. - -[72] _Arch. Journ._, LX. - -[73] “Italian Armour at Chalcis,” C. ffoulkes, _Archæologia_, LXII. - -[74] Cf. Baron de Cosson, _Arch. Journ._, XXXVII, p. 79. - -[75] _Antient Armour_, II, 164. - -[76] _Origines des Chevalivers, etc._, 1606, p. 142. - - - - -THE PROOF OF ARMOUR - - -As soon as the armed man realized that iron and steel were the best -defences for his body, he would naturally insist that some sort -of a guarantee should be given him of the efficacy of the goods -supplied by his armourer. This system of proving armour would be -effected by using those weapons most commonly in use, and these, in -the early times, were the sword, the axe, the lance, the bow, and -the crossbow. The latter seems to have been the more common form of -proof, though as late as the seventeenth century we have evidence -that armour was proved with the “estramaçon” or sword blow.[77] - -In considering the proof of mail we are met with certain terms -which are somewhat difficult of explanation, but which evidently -are intended to convey the fact that the mail mentioned was -of especially good quality. These terms are “haute cloueur,” -“demi-cloueur,” “botte cassée,” and “botte.” - -M. Charles Buttin,[78] in his studies on the arms used for proving -armour, considers that “botte” is here used to denote a blow in -the sense that it is used in fencing for a thrust or a lunge (It. -botta). The word “cassée” he takes to be derived also from the -Italian “casso,” vain or empty. - -The term “haute” or “demi-cloueurs” seems rather to suggest the -single or double riveting of each link of mail. Ordinary mail is -either welded or joined with one rivet, but in some cases, as in -III, 339, Tower, two rivets are used to obtain increased strength -for the fabric (see also page 44). - -Mail seems to have been proof against arrows at a very early -period, for we find in the _Chronicon Colmariense_, under the year -1398, the statement that the men-at-arms wore “camisiam ferream, ex -circulis ferreis contextam, per quae nulla sagitta arcus poterat -hominem vulnerare.” The earliest entry of this mail of proof is -found in the Inventory of Louis X (le Hutin) of France, which is -here given together with other entries of the different expressions -used with regard to proof of this nature. - - 1316. _Inventory of Louis le Hutin. Bib. Richel., MS. fr._, 7855. - - Item uns pans[79] et uns bras de roondes mailles de haute cloueur. - - Uns de meme d’acier plus fors. - - Item uns couverture a cheval ... de jaseran de fer, uns de mailes - rondes demy clouées. - -In this entry there is evidently a variety of mail which is even -stronger than that of “haute cloueur,” but this may possibly be of -stouter or better-tempered metal. The horse-armour would not need -to be of such high proof as that of the man, because from its form -it would be more or less in folds when the horse was in action -and would therefore present double thicknesses to the weapon. -An illustration of the mail-clad horse is given in the present -writer’s _Armour and Weapons_, and also in _Monumenta Vetusta_, -Vol. VI. - - 1390. _Archives Camerales de Turin Comptes Tres. gen. de Savoie, - No. 38, fol. 62v._ - - Achettez de Simond Brufaler armeur, de mons ... per le pris de un - auberjon d’acier de toute botte. - -This expression “de toute botte” suggests that the armour was -proof against all blows, that is from the sword, the axe--the -“estramaçon” above alluded to--and also against the bow and the -crossbow. In 1612 Sturtevant in his _Metallica_ writes on page 62 -that the ironworker should “make things stronger than the Exact -strength which the thing is to have,” and we find this borne -out in an extract from the Armerie di Roma, Arch. Stat. c. 150, -of the date 1627, which mentions old armour “a botta” which had -been proved with “due e tre colpi dell’ arma alla quale dovevano -resistere.”[80] - -The proof by the crossbow is mentioned by Angellucci in a note, -quoting from the _Arch. Gonz. Copialett._, T. II, c. 65: “et si -te manderemo doi veretoni di nostri saldi, como i quali tu farai -aprovare la ditta coraza corno uno bono balestro di cidello.”[80] -The last-mentioned weapon is the “arbalest à tour” or windlass -crossbow. It would seem from M. Buttin’s researches that the armour -“à toute épreuve” was proved by crossbow and sword, and that “à -demi épreuve” by the smaller lever crossbow or by the javelin -thrown by hand. These varieties of proof were indicated by the -marks stamped upon them, one mark for the single and two for the -double (see page 65). In some documents we have definite entries -of arrows used for proof, which would naturally have exceptionally -well-tempered points:-- - - 1378. _Reg. de la Cloison d’Angers, No. 6._ - - Pour deux milliers de fer pour viretons partie d’espreuve et - autre partie de fer commun. - -The “vireton” was a crossbow-bolt which had spiral wings of metal -or wood so fitted that it revolved in its course. - - 1416. _Compt de Gilet Baudry, Arch. Mun. Orleans._ - - Flêches à arc empannées a cire et ferres de fers d’espreuve. - -Here the “feathering” of the arrow with copper is specified, for -it was this metal wing which, acting like the propeller of a boat, -caused the arrow to revolve with increased velocity. - -These arrows of proof cost double the price of ordinary arrows, for -we have entries of such projectiles in the year 1419 costing 8s. -the dozen, while the ordinary quality cost but 4s. the dozen.[81] - -Details of the regulations of setting proof marks upon armour will -be found in Appendices B, E, K. - -The proving of brigandines was most carefully carried out, for in -some instances every separate plate was stamped with the proof -mark. In the Paris Collection double proof marks are found on the -brigandine G, 206, and a similar double mark appears stamped on the -Missaglia suit G, 3, but of a different design. The helmet of Henry -VIII on II, 29 (Tower) also bears the double proof mark of one of -the Missaglia family (Plate X). It would be tedious and unnecessary -to give a list of those armours which bear these proof marks, for -they are to be found in every armoury of note in Europe; but it -will be of some profit to quote various extracts showing the reason -and the effects of proofs or trials of armour. - -[Illustration: _PLATE XVI_ - - 1. VENETIAN SALLAD COVERED WITH VELVET, XVI CENT. - 2. BACK PLATE OF BRIGANDINE COVERED WITH FABRIC, 1470 - 3. MORION WITH COVER, XVI-XVII CENT. - 4. SURCOAT OF THE BLACK PRINCE] - -In the sixteenth century the firearm had become a serious factor in -warfare, therefore the proof was decided by submitting the armour -to pistol or musket shot. - - 1347. _Regulations of the Heaumers of London_ (original in - Norman-French), _City of London Letter Book, F, fol. cxlii_. - - Also that helmetry and other arms forged by the hammer ... shall - not from henceforth in any way be offered for sale privily or - openly until they have been properly assayed by the aforesaid - Wardens and marked with their marks (see Appendix B). - - 1448. _Statutes des Armuriers Fourbisseurs d’Angers._ - - It. les quels maisters desd. mestiers seront tenus besoigner - et faire ouvrage et bonnes étoffes, c’est assavoir pour tant - que touche les armuriers, ils feront harnois blancs pour hommes - d’armes, de toute épreuve qui est à dire d’arbalestes à tilloles - et à coursel à tout le moins demie espreuve ... marquées de - 2 marques ... et d’espreuve d’arbaleste à crocq et traict - d’archier, marquées d’une marque (see Appendix E). - -The “arbaleste à tilloles” was the large bow bent with a windlass, -the “arbaleste à crocq” was smaller and was bent with a hook -fastened to the waist of the archer (see Payne Gallwey, _The -Crossbow_). - - 1537. _Discipline Militaire_, Langey, I, chap, xxii, pp. 79, 80. - - ... les Harnois soient trop foibles pour résister à l’Artillerie - ou à l’Escopeterie, néantmoins ils défendent la personne des - coups de Pique de Hallebarde, d’Epée, du Trait, des Pierres, des - Arbalestes, et des Arcs.... Et par fois une Harquebuze sera si - mal chargée ou si fort eschauffée ou pourra tirer de si loin, que - le Harnois pour peu qu’il soit bon sauvera la vie d’un homme. - -The above writer considers, and with reason, that when the -uncertainty of firearms was taken into consideration defensive -armour was of much practical use; and this theory was held as -late as the eighteenth century, for Marshal Saxe in his _Les -Rêveries_[82] warmly recommends the use of defensive armour, -especially for cavalry, as he considers that a large proportion -of wounds were caused by sword, lance, or spent bullets. It was -evidently from reasons such as the above that a reliable proof by -pistol or musket shot was insisted upon, for the armour of the Duc -de Guise in the Musée d’Artillerie (G, 80) is of great thickness -and weighs 42 kilos. It has either been tested by the maker or has -seen service, for there are three bullet marks on the breastplate, -neither of which has penetrated.[83] - - 1569. _Arch. cur. de Nantes_, I, col. 305. - - 612 corps de cuyrace ... garnis de haulzecou ... desquelz le - devant sera a l’espreuve d’arquebuse et le derrière de pistol. - -The terms “high proof,” “caliver proof,” and “musket proof” often -occur in writings of this period and onwards up to the time when -armour was discarded; but it is difficult to get any definite -information as to how the proof was made. In the above entry there -are two kinds of proof, which show that the back-plate was thinner -than the breastplate, the resisting power being obtained not only -by temper of metal, but also by its thickness. - - 1568. _Les Armuriers français et étrangers_, Giraud, pp. 191, 192. - - Ung corps de cuirasse lequel sera a l’espreuve de la pistolle, - ung habillement de teste a l’esprouve de la pistolle, brassartz - ... a l’esprove de la pistolle, tassettes courtes a l’esprouve de - la pistolle. - -Here is evidently a necessary definition of each piece. Probably -on some former occasion the armourer had classed the whole suit as -of proof when such a description might only be honestly given to -the cuirass. Accounts of actual trials are rare, but the following -extract is of interest as showing the methods employed in England. -It is given in full, with many valuable extracts bearing on the -craft of the armourer, by Viscount Dillon, in _Archæologia_, Vol. -LI. The extract is taken from a letter from Sir Henry Lee, Master -of the Armoury in 1580, to Lord Burghley, and bears the date Oct. -12, 1590. - -The first part of the letter states that a gentleman of Shropshire -was anxious that the metal mined in his county should be used for -armour instead of the German iron which at this time was considered -to be the best in the market. Sir Henry writes: “To give the more -credyte to that stuffe to the armourers of London and to Jacobi the -Mr. workman of Grenewhyche, the Counsell apoynt in there presence -that Sr. Robarte Constable and my cossyn John Lee shoulde see a -proofe made wh. by tryall proved most usefull.” The “Shropshire -gentleman” sent Sir Henry “a new brest beyng sent owt of the -country of gret litenes and strengthe as he was made beleve,” and -entrusted him to “cause another of the very same wayght to be made -in her Matys office of Greenwhyche, wh. I presently performed.” -Pistols were then loaded with equal charges and fired at the two -breastplates, with the result that “that made in the Offyce and of -the metall of Houngere[84] helde out and more than a littel dent -of the pellet nothinge perced, the other clene shotte thereowe and -much tare the overpart of a beme the brest studde upon as longe as -my fyngeers. Thus muche for the Ynglyshe metall.” - -From time to time, as has been noticed before, there had been -efforts to wrest the monopoly of the supply of metal for armour -from the foreigner, but here was a very tangible proof of the -superiority of the alien material. It is true that the Shropshire -breastplate appears to have been sent from that county for the -test, while the foreign metal was made up by the highly skilled -workmen in the Royal Armoury at Greenwich under the eye of Jacobi -(Topf), a master-craftsman who can have had but few rivals at that -time. Possibly he may have possessed some secrets of tempering -and hardening his metal which were unknown to less experienced -smiths, and so have obtained the award of superiority for the metal -of his own country. Topf had migrated to England from Innsbruck -and must certainly have had friends among the iron-merchants of -that locality. So his interests were obviously on the side of the -foreign metal. - -It may be only romance or it may be fact, but certainly Oliver de -la Marche,[85] writing about the year 1450, describes some such -process of tempering armour after it was made. “Boniface avoit -trempe son harnois d’une eau qui le tenoit si bon que fer ne povoit -prendre sus.” It is not to be suggested that it was a special kind -of water that was used for this, but rather that it was some method -of heating and cooling the metal which was employed. Angellucci, in -the _Catalogue of the Armeria Reale, Turin_ (p. 129), quotes, from -documents of the sixteenth century, the account of a breastplate -made by Colombo, an armourer of Brescia, being spoiled because he -had used excessive charges for his pistol or musket. - - 1602. _Milice français_, Montgomery, Pt. II, p. 187. - - Les chevau-légers estoient armez d’armes complètes d’une cuirasse - à l’épreuve. Le reste estoit à la légère. - -The last detail shows that the back-pieces were much lighter than -the proof breastplates, and this is borne out by other similar -entries during the century. Evidently the efficacy of the musket -had increased in the first years of the seventeenth century and -with it the weight of the proved armour. In later entries we find -that pistol proof is of more frequent occurrence, and from this we -may gather that the weight of metal was a serious hindrance to the -soldier and that he preferred the risk of a bullet. - -Still there are cases to be found of complete proof, for in 1605 -even the brayette was of proof (_Arch. Gov. Brescia Privil., R. 7, -V_, p. 10),[86] and if this small, in fact the smallest, portion -of the armour was proved, we may be sure that the whole suit was -tested equally. - -In 1628-9 we learn from the State Papers Domestic, lxxxix, 23, -that one Whetstone had a project for making light armour as good -as proof, but there are no details of his methods. It is quite -probable, in most cases, that when one piece of the armour was -proved the rest were made of similar material and tempered in the -same way, and that actual proof was not expected or given. An -interesting extract from the _Memorials of the Verney Family_, IV, -30, gives us some information as regards the proof of armour:-- - - 1667, Feb. Richard Hals is choosing some armour for his cousin in - London: he has tested it with as much powder as will cover the - bullet in the palme of his hand. - -This rough-and-ready method of estimating the charge is borne out -in Gaya’s _Traité des Armes_, p. 30 (Reprint 1911, Clarendon Press). - -The Verney extract goes on to say that Verney wished to have the -armour tested again, but the armourer refused, for by this time it -was finished, and he said that “it is not the custom of workmen to -try their armour after it is faced and filed.” - -[Illustration: _PLATE XVII_ - -CAST OF IVORY CHESSMAN, XIV CENT. - -IVORY MIRROR CASE, XIV CENT.] - -This suit cost £14 2s. 8d., and when it was delivered Verney was -by no means pleased, as it did not fit.[87] A clear proof that -armour was tested before it was finished is to be found on the -suit made by Garbagnus of Brescia for Louis XIV of France, now in -the Musée d’Artillerie (G, 125). M. Buttin[88] in noticing this -suit describes it as “La magnifique armure offerte à Louis XLV -par la République de Venise,” but in this we must certainly hold -a different opinion, for the production, although elaborately -engraved, is perhaps the best example of the decadence of the craft -of the armourer, so graceless and clumsy are its lines and -proportions. The proof mark is upon the left of the breastplate, at -the point where the lower edge of the pauldron ends. It has been -made the centre of a double-petalled rose, showing plainly that the -bullet mark was there before the engraver began his work. A similar -mark at the back is made the centre of a flower (Fig. 35). The -document relating to the “proof mark” of the Armourers’ Company of -London will be found in Appendix K. - -[Illustration: FIG. 35. Detail showing proof mark on breast of suit -of Louis XIV, Mus. d’Art, Paris, G, 125.] - -Gaya in his _Traité des Armes_, 1678, referred to above, states -on page 53 that the casque and front of the cuirass should be of -musket proof, but the other parts need only be of pistol or carbine -proof. In speaking of head-pieces he states, on the same page, -that the heavier kinds were proved with musket-shot, but the light -varieties were only tested with “estramaçon” or sword-cut; and he -adds that for armour to be good it must be beaten and worked cold -and not hot. - -We have seen how armour was proved and how the proof mark of -crossbow-bolt or bullet is often found as a witness to the fact. -In addition to this we frequently find the mark or poinçon of -the armourer, which invariably means that the piece is of good -workmanship and worthy of notice. - -Like all the other craft gilds, that of the armourer was very -jealous of the reputation of its members. The tapestry weavers of -Flanders were obliged to mark, in some cases, every yard of their -production; and so in fine suits of armour we find many of the -individual pieces that go to make up the suit stamped with the -maker’s mark and also with the stamp of the town. These town stamps -are mostly found in German work from Nuremberg, Augsburg, etc. We -find the name Arbois used on some Burgundian armour, but never -are the names of Italian or French towns stamped. With the sword -this rule does not hold good, for the Spanish, Italian, and German -makers frequently used the town of origin as a mark in addition -to their own. Toledo, Passau, Ferara, Solingen are all found upon -swords, and are very often stamped upon blades of an entirely -different nationality. This forgery of the stamp may have been -perpetrated with the intent to defraud, or it may simply have been -used as a mark of excellence, like “Paris fashions” or “Sheffield -steel” at the present day. The forgery of marks on suits of armour -is very seldom met with and where it exists it is obviously done -for ulterior reasons. - -The stamps take the form of signs such as the trefoil of Treytz, -the monogram such as the “M Y” of the Missaglias, and the crowned -“A” of the Armourers’ Company of London; the rebus, as for example -the helm used by the Colman (Helmschmied) family, or a combination -of two or more of the above variety. - -About the year 1390 we have the following entry:-- - - Achetiez de Symond Brufaler armeur ... 1 auberion d’acier de - botte cassé duquel toutes les mailes sunt seignier du seignet du - maistre.[89] - -This shows that in some cases every link of mail was stamped with -the armourer’s mark. In Oriental mail letters and sometimes words -from the Koran are stamped on each link, but we have no examples -extant of European mail stamped with the maker’s mark on each link. - -On May 11, 1513, Richard Thyrkyll writes to Henry VIII from Antwerp -saying that he can find no “harness of the fleur de lys” in any -part of Brabant (Brit. Mus. Galba, B, III, 85). - -This probably refers to a trade-mark or poinçon well known as -denoting metal of high temper. A brigandine in the Museum at -Darmstadt bears this mark repeated twice on each plate, showing -that it was proof against the large crossbow (Fig. 36). Demmin -(_Guide des Amateurs d’Armes_) gives a mark of a lion rampant as -stamped on the plates of a brigandine in his collection, and an -example in the Musée d’Artillerie has the Nuremberg mark on each of -the plates. - -[Illustration: FIG. 36. Proof marks on a Brigandine plate, -Darmstadt Museum (full size).] - -In the case of mail a small label is sometimes found, riveted on to -the fabric, on which is the maker’s stamp; an example of this is -the eagle which is stamped on a label attached to the mail skirt -G, 86, in the Armeria Reale, Turin (see Table of Marks, 59). In -brigandines we sometimes find each of the small plates stamped with -the maker’s mark, which is held to be evidence of “proof.” - -As we have seen from the entry under the date 1448, on page 65, the -single stamp signified proof against the small crossbow and the -double stamp proof against the heavy windlass-bow. - -As has been noticed above, the forgery or imitation of marks is -more common on sword-blades than on defensive armour, and of these -the wolf, dog, or fox of Passau is most frequently imitated. In -some instances the representation is more or less life-like, but in -others there is simply a crude arrangement of straight lines that -suggest the head, legs, body, and tail of the animal. - -Stamping of armour was practised early in the middle of the -fourteenth century, as will be seen in the Regulations of the -Company of Heaumers transcribed in Appendix B. - -In Rymer’s _Fœdera_ (XIX, p. 312) we find accounts for repairing -and remodelling armour in the year 1631, and at the end of the list -comes the entry “For stamping every harness fit to be allowed -£ 0 0 0”, which shows that even armour that was remade from old -material was subjected to tests, and also that these tests were -recorded by a gratuitous stamp of the craftsman or of the company -to which he belonged. - -The only entry extant which actually refers to the making of these -stamps for armourers is given in the _Mem. de la Soc. Arch. de -Touraine, T. XX, pp. 268-9_ (_Arch. de Tours, Grandmaison_). - - 1470. A Pierre Lambert orfèvre, la somme de 55 s. t. ... pour - avoir fait et gravé 6 poinsons de fer acérez pour marquer les - harnois blancs et brigandines qui seroient faiz et délivrez en - lad. ville, de la façon que le roy l’avait ordonné, et pour - avoir retaillé et ressué 2 desd. poinsons qui estoient fenduz en - marquant les harnois. - - A Jehan Harane orfèvre, pour avoir gravé les armes de la ville en - 2 poinsons de fer pour marquer les harnois et brigandines vendues - en lad. ville 30 s. - -The number of armourers’ marks known at present amounts to several -hundred, but of the majority nothing is known as to ownership and -history. A few of the principal marks in English and Continental -collections are given on page 148. - - -FOOTNOTES: - -[77] Gaya, _op. cit._ - -[78] _Revue Savoisienne_, 1906, fasc. 4. - -[79] Panzer, body-armour. - -[80] _Cat. Armeria Reale Turin_, 129. - -[81] _Rev. Savoisienne_, 1906, fasc. 4, p. 3. - -[82] Edit. 1756, p. 58. - -[83] A half-suit in the possession of H. Moffat, Esq., Goodrich -Court, formerly the property of New College, Oxford, has a heavy -“plastron” or reinforcing piece. The bullet has dented this and -also the cuirass underneath. The head-piece and back-plate are -pierced by bullets. - -[84] Hungarian or Innsbruck iron. - -[85] _Memories_, I, xxi (edit. 1884). - -[86] _Cat. Armeria Reale Turin_, p. 73 note. - -[87] See page 105. - -[88] _Rev. Savoisienne_, 1901, fasc. 2 and 3. - -[89] Arch. Cam. de Turin, Compte des Très. gén. de Savoie, Vol. -XXXIX, f. 163. - - - - -THE DECORATION OF ARMOUR - - -From the earliest times defensive armour has been more or less -decorated and ornamented with more or less elaborate detail as the -armourer became skilled in his craft and as the patron indulged -in vanity or caprice. Perhaps the most astonishing work in this -direction is the shoulder-piece of a cuirass known as the Siris -bronze in the British Museum, which is of such elaborate repoussé -work that it is difficult to see how the tool can have been used -from the back. It is not, however, the intention of this work to -deal with Greek or Roman armour, or indeed with armour previous -to the eleventh century; otherwise its limits would have to be -considerably enlarged. The ornamentation of early armour, the -employment of brass or latten rings, which formed patterns on the -hauberk, called for no special skill on the part of the craftsman, -and it is only when we come to the thirteenth century that we find -traces of actual decoration on the pieces of plate which composed -the suit. - -[Illustration: _PLATE XVIII_ - -PORTRAITS BY MORONI - -NATIONAL GALLERY, LONDON] - -And here it should be remembered that the axiom of suitability -was, in later years, forgotten, and the ever-important “glancing -surface” was destroyed by designs in high relief, which not only -retained the full shock of the opposing weapon, but also hindered -the free movement of the several plates one over the other. The -word “decoration” in itself suggests a “decorous” or suitable -adornment, and this suitability was not always considered by the -sixteenth and seventeenth century armourers. - -The use of jewels was always favoured among the nobility, and -we find in the inventory of the effects of Piers Gaveston[90] -plates ornamented with gold and silver and ailettes “frettez de -perles.” In 1352 King John of France and the Dauphin had elaborate -head-pieces ornamented with jewels, and in 1385 the King of Castile -wore a helmet at the battle of Aljubertota which was enriched with -gold and valued at 20,000 francs.[91] - -[Illustration: FIG. 37. Poleynes on the brass of Sir Robert de -Bures, Acton, Suffolk, 1302.] - -The well-known brass of Sir John d’Aubernon, 1277, shows the first -traces of the actual ornamentation of armour, which culminated in -the work of Piccinino and Peffenhauser in the sixteenth century. -Similar ornamentation is found on the brass of Sir Robert de Bures, -1302 (Fig. 37). It is possible that the poleynes shown on this -brass and also the beinbergs on the figure of Guigliemo Berardi in -the Cloisters of the Annunziata at Florence (Fig. 38) were made -of cuir-bouilli and not metal, for there is not much incised or -engraved iron found in domestic objects of this period (Fig. 37). -But when we reach the end of the century we find a richly decorated -suit of complete plate shown on the brass of an unknown knight of -about the year 1400 which in no way suggests any material but iron -or steel (Fig. 39). - -[Illustration: FIG. 38. Beinbergs on the statue of Guigliemo -Berardi, Florence, 1289.] - -This engraving of armour, either by the burin or by etching with -acid, was employed with more or less intricacy of detail from the -beginning of the fifteenth century up to the period when armour was -discarded; for the suits of Charles I (Tower, II, 19) and of Louis -XIV of France (Musée d’Artillerie, G, 125) are almost entirely -covered with fine engraving. The tradition is well known that the -art of engraving and printing the results on paper was discovered -by the Florentine metal-workers of the fifteenth century, who -employed this expedient for proving their ornamental work upon -various metals. In some cases the engraving of armour was merely -the first process of the niello-work, in which the lines and -spaces cut out were filled in with a black compound. Neither the -engraving alone nor the niello-work in any way interfered with the -utility of the armour, for the surface was still capable of a high -polish and would still deflect the weapon. No better example of -this could be found than the “Engraved Suit” made for Henry VIII -by Conrad Seusenhofer (Tower, II, 5). Here the entire surface is -covered with fine engraving of scenes from the lives of SS. George -and Barbara, and of decorative designs of the royal badges--the -Rose, the Portcullis, and the Pomegranate. Originally the whole -suit was washed with silver, of which traces remain, but there was -no attempt to destroy the utility of the armour. Indeed, it would -have been a daring armourer who would have essayed such decoration -when making a suit which was to be a present from Maximilian to -Henry VIII, both of whom were among the most practised jousters -in Europe (Plate XII). It was only when work in high relief was -produced that this utility was destroyed. While condemning the -neglect of true craft principles in this respect, we cannot but -give our unstinted admiration for the skill in which this embossed -armour was produced. The Negrolis, the Colmans, Campi, Lucio -Piccinino, Peffenhauser, and Knopf were all masters of this form -of applied art; but the admiration which their work compels is -that which we have for the work of a gold or silver smith, and -not for that of the armourer. In some cases, it is true, there is -some definite idea in the craftsman’s mind of a subject, as for -example the parade suit of Christian II (Johanneum, Dresden, E, -7), in which the artist, who is generally considered to have been -Heinrich Knopf, embossed scenes from the labours of Hercules on -the horse-armour. As a rule, however, the ornamentation is merely -fantastic and meaningless, and consists for the most part of -arabesques, masks, and amorini based upon classical models of the -worst period and style. For sheer incoherence of design, and at the -same time for technique which could hardly be surpassed, we have no -better example in any of the applied arts than the parade suit made -for King Sebastian of Portugal by Anton Peffenhauser of Augsburg -in the second half of the sixteenth century (Real Armeria, Madrid, -A, 290). Here we have tritons, nereids, dolphins and sea-horses, -combats of classical warriors, elephants, allegorical figures of -Justice, Strength, and Victory, gods, goddesses, heroes, virtues, -and symbolic figures spread broadcast among a wealth of arabesques -and foliation which leaves the beholder breathless at the thought -that this was simply produced for parade purposes, when but little -of the detail could be seen and none of it could be adequately -studied or admired. In fact the whole equipment may be described in -a sentence originally used in far different circumstances: “C’est -magnifique, mais ce n’est pas la guerre” (Plate XIV). - -[Illustration: FIG. 39. Brass of an unknown knight at Laughton, -Lincs, 1400. - - 1. Vervelles. - 2. Camail. - 3. “Vif de l’harnois,” “défaut de la cuirasse.” - 4. Baldrick. - 5. Jupon. - 6. Gadlings or gauntlets. - 7. Bascinet. - 8. Edge of hauberk.] - -Much of this embossed work was blackened or oxidized so that the -full value of the relief-work could be appreciated. Gilding and -gold inlay were also in high favour, but the latter art never -reached the high pitch of excellence which we find in Oriental -weapons, though the arrogant Cellini asserted that he could -damascene swords as well as any Oriental craftsman, and better. -That the art was not seriously attempted we gather from Cellini’s -own words, for he says that it “differed from any he had as yet -practised.”[92] - -In all this ostentatious riot of ornament we in England -preserved a dignified reticence. It is true that the City of -London commissioned Petit of Blois to make the cumbersome gilded -and engraved suit for Charles I, but we have in our national -collections no specimens of elaborately embossed parade armour -which were made for kings, princes, or nobles in England. - -The master-craftsman Jacobi Topf and his pupil William Pickering -both produced suits of great richness and beauty, but they were -always eminently practical, and their utility and convenience -were never hampered or destroyed. Where there is embossing it is -shallow, and as the relief is not sharp there is no edge which -might catch the lance-point or sword. Much of the work of Topf was -russeted and gilt, a method which produced a highly ornate and yet -never a trivial or confused effect. - -The parade suit by Bartolomeo Campi, made for Charles V (Real -Armeria, Madrid, A, 125), is so obviously a fantastic costume for -masque or pageant that it can hardly be criticized as armour. It -is based upon a classical model, for the cuirass is moulded to the -torse after the manner of the armour of the late Roman Empire. As -metal-work it will rank with the finest specimens extant, but as -armour it completely fails to satisfy (see page 132 and Plate XIV). - -[Illustration: _PLATE XIX_ - -HELM OF SIR GILES CAPEL. XVI CENT. - -ARMING FOR COMBAT IN THE LISTS - -FROM THE HASTINGS MS., XV CENT.] - -Although not in any way decorative, the “puffed and slashed” -armour copied from the civilian dress of the sixteenth century -is an example of the armourer making use of embossing apart from -the actual requirements of the constructive side of his craft. -Radiating lines of repoussé work, simple, fine, and delicate, -had been introduced into the later forms of Gothic armour, the -pauldrons had been fluted like the cockle-shell, and these flutings -had been made of practical use in Maximilian armour, giving -increased rigidity without weight, a factor which is found in -modern corrugated iron. - -The imitation of fabrics in steel is, however, unpardonable, and -has not even the richness or minute technique of the parade suits -mentioned above. It is true that the embossing gives greater -rigidity to the metal, but we can have none of the admiration for -these unnatural forms of armour that we have for those in which the -goldsmith and armourer worked together. The style of dress which -was imitated was in itself designed to create a false impression, -for the slashings were intended to convey the idea that the wearer -was a swashbuckler, fresh from the wars. We can only, therefore, -regard it as an absurdity to represent fabrics, which were supposed -to have been frayed and cut by weapons, in weapon-proof steel. That -the fashion was popular we know from the number of suits extant, -and even Conrad Seusenhofer himself did not disdain to produce -them. The vogue did not endure for more than about twenty years, -for as soon as the fashion in civilian dress changed the armour -became simpler and the imitation ceased (Plate XXI). - - -FOOTNOTES: - -[90] _New Fœdera_, II, 203. - -[91] Froissart (Johnes’ trans.), II, 124. - -[92] _Life of Benvenuto Cellini_, 1910 edition, I, 112. - - - - -THE CLEANING OF ARMOUR - - -An important part of the work of the armourer was the cleaning and -keeping in repair his master’s effects. This was especially the -case with mail, which from its nature is peculiarly susceptible -to the action of rust. It is to this cause and to the incessant -remaking of armour that we owe the loss of all authentic mail -armour of the twelfth and thirteenth centuries. A good example of -this may be cited in the hoard of plate armour and helmets, of -which last nearly a hundred were collected, found in a cistern -in the castle of Chalcis, in Eubœa, in the year 1840.[93] They -had lain there since the year 1470, when the castle was taken by -the Turks, and are in many instances in excellent preservation -considering the condition in which they were found. The collection -was brought to light and catalogued in a very unscientific manner -by the historian Buchon, but there is no trace of mail of any kind -except one link attached to a helmet. - -In the early part of the fifteenth century mail was used -extensively both for complete defence and for protecting vital -parts not covered by plate, of which details will be found on -page 109; therefore it is most improbable that a large collection -such as this should have been left with no vestiges of mail. It -is obvious, therefore, that the delicate fabric was attacked -and destroyed by rust long before the same agent could make any -effect on the solid plate. The following extracts will give in -chronological order the various entries which concern the cleaning -and repairing of armour:-- - - 1250 (?). _The Avowynge of King Arthur, stanza 39._ - - Gay gownus of grene - To hold thayre armur clene - And were[94] hitte fro the wette. - -Here we find the reason, or at any rate one of the reasons, for -wearing the surcoat. Some writers have suggested that it was worn -to protect the Crusader from the sun in his Oriental campaigns, -but the quotation given definitely asserts that it was to keep off -the rain. This is certainly a practical reason, for, as has been -stated before in this chapter, the intricate fabric of mail was -peculiarly susceptible to damp. - - 1296. 23-24 _Edw. I_ (_Duchy of Lancaster Accounts_). - - Itm. xx s. xj d. in duobus saccis de coreo pro armatura comitis. - -This refers to leather sacks used either for keeping the armour in -or for cleaning it by shaking it with sand and vinegar. - - 1344. _Inventory of Dover Castle_ (see also page 25). - - i barrele pro armaturis rollandis. - -The barrel was here used in the same way. The mail was placed -inside with sand and vinegar and rolled and shaken. The same method -is still practised in some districts for cleaning barrels for cider -or ale. Chains are placed in the barrel with sand to obtain the -same result. On Plate XV a barrel is shown on the extreme left of -the picture with a mail shirt hanging over the edge. - - 1364. _Inventory of the donjon of Vostieza._[95] - - i barellum ad forbiendum malliam. - - 1369. _Prologue, Canterbury Tales_, Chaucer. - - Of fustyan he wered a gipoun - Alle sysmoterud with his haburgeoun. - -This extract shows clearly the need for the barrel and sand. The -mail had evidently rusted with rain and perspiration, and left -stains and marks on the quilted undergarment. We find the term -“rokked” used in the poem of _Syr Gawayn_, which means cleaned by -rolling. - - 1372. Froissart _uses the expression_ - - a rouler leurs cottes de fer. - - 1417. _Inventory of Winchester College._ - - i barelle pro loricis purgandis. - - 1423. _Roll of Executors of Henry Bowet, Archbishop of York, Oct. - 20._ - - j barrelle cum suis pertinentiis ad purgandos loricas et alia - arma de mayle. - - 1467. _Howard Household Book._ (_Dom. Expenses in England_, 416). - - 9d. to an armerer at Pawles Cheyne for an harneys barelle. - - 1513. _Earl of Northumberland’s Equipage_ (see also page 30). - - a paommyshe. - - Eight yards of white blaunkett for trussing of my Lord’s harnes - in. - -The pumice was for cleaning off the rust, and the blanket was used -for packing the armour when in store or on a journey. - - 1515. _King’s Book of Payments, Record Office, under various - payments to armourers._ - - Oct. 11. Payment to Adrian Brand for hire of his mill house for - cleaning the king’s harness, 26s. 8d. the month. - - 1517. April. Wm. Gurre, armourer, making clean of certain - harness, bockeling & ledering of 400 Almain rivets for the - Armoury at Eltham £24 7 8. - -The “bockeling & ledering” of course refers to the fitting of new -leather straps and buckles. The Almain rivet was the half-suit of -the foot-soldier and has been explained on page 52. - - 1520. April. William Gurre for scouring 1000 pr. of Almain rivets - at 12d. a pair. - - 1530. Hans Clerc armorer for furbishing and keeping clean the - king’s armour in the armoury in the Tilt yard at Greenwich which - John Diconson late had at 6d. a day. - - Thos. Wollwarde for keeping & making the king’s harnes att - Windsor & York Place 30s. 5d. - - 1567. _S.P.D. Eliz., Addenda xiii_, 101. - - Payments are made in this entry to paint black various corselets - which had become “fowle and rustie” and had “taken salt water in - the sea” at a charge of 5d. each. - -[Illustration: _PLATE XX_ - -ARMOUR OF HENRY, PRINCE OF WALES, BY WILLIAM PICKERING, 1591-1630] - -Froissart describes the champion Dimeth, at the coronation of -Henry IV, as being “tout couvert de mailles de vermeil, chevalier -et cheval.”[96] This painting of armour was frequently indulged -in both for the above practical reason and also for personal -adornment. Tinning was also used for protecting armour from wet -(_vide_ page 33 _sub ann._ 1622). Armour in the Dresden Armoury and -elsewhere is painted black. Hall in his Chronicles in the account -of the funeral of Henry V states that men-at-arms in black armour -rode in the procession. The armour in the seventeenth century was -often blacked or russeted. Suits of this kind are to be seen in -the Gun Wharf Museum at Portsmouth and elsewhere. Haselrigg’s -“lobsters” were so called, according to Clarendon,[97] because of -their “bright shells.” It is quite possible that their armour was -blacked. In the Lansdowne MS. 73, William Poore suggested a remedy -for “preserving armour from pewtrifying, kankering or rusting,” -but there are no details given of the method he employed; it was -probably some kind of lacquer or varnish. Among the Archives of the -Compte du tresor de Savoie (63 f. 157) is mentioned a payment to -Jehan de Saisseau “por vernicier une cotte d’aciel,” and in one of -the Tower inventories (Harl. MS. 1419) of the year 1547 “a buckler -of steel painted” occurs.[98] - - 1567. _S.P.D. Eliz., Add. xiii_, 104. - - Sundry payments for cleaning and repairing armour at the Tower, - Hampton Court, and Greenwich at 10d. the day. - - 1580. _S.P.D. Eliz., cxli_, 42. - - A document written on the death of Sir George Howard ordering the - cleaning and putting in order of the arms and armour at the Tower. - - 1628. _S.P.D. Car. I, xciii_, 61. - - Capt. John Heydon to Wm. Boswell, Clerk to the Council, for the - new russeting of a corslet, 5sh. - - 1603. _Inventory of the Armoury at Hengrave._ - - Item one barrel to make clean the shirt of maile & gorgets. - - 1671. _Patent_ applied for by Wolfen Miller (John Caspar Wolfen, - and John Miller), for twenty-one years, “for a certain oyle to - keep armour and armes from rust and kanker” for £10 per annum. - - 1647 (_circ._). _Laws and Ordinances of Warr, Bod. Lib., Goodwin - Pamphlets, cxvii_, 14.[99] - - Of a Souldiers duty touching his Arms. - - II. Slovenly Armour.--None shall presume to appeare with their - Armes unfixt or indecently kept upon pain of Arbitrary correction. - -With regard to the keeping of armour in store two instances have -been mentioned above under the dates 1296 and 1513. In addition -to these we find that in 1470 in the _Chronique de Troyes_, the -French soldiers were forbidden to carry their arms and armour in -“paniers,” which, from the statement, was evidently a practice. - -In the Wardrobe Account of Edward I, 1281, published by the Society -of Antiquaries, we find payments to Robinet, the King’s tailor, for -coffers, sacks, boxes, and cases to contain the different parts of -the armour. - -In the Wardrobe Expenses of Bolingbroke, Earl of Derby (Camden -Soc.), 1393, are found the following entries:-- - - fol. 32. pro j cofre ... ad imponendum scuta domini. xvij scot. - fol. 33. pro j house[100] pro scuto domini ix scot. xij d. - fol. 40. pro i breastplate domini purgando ibidem iij li. vij s. - -The “buckler of steel painted” mentioned above is scheduled as -being in “a case of leather.” In an engraving of Charles I by W. -Hole, in the British Museum, a box is shown for holding the breast -and back plates.[101] - - -FOOTNOTES: - -[93] Charles ffoulkes, “Italian Armour at Chalcis,” _Archæologia_, -LXII. - -[94] Protect. - -[95] _Arch. Journ._, LX, 106. - -[96] Vol. IV, c. 114. This detail is not given either in Johnes’ or -Lord Berners’ translation. - -[97] _Rebellion_, VII, 104. - -[98] _Archæologia_, LI. - -[99] _Cromwell’s Army_, Firth, 413. - -[100] Cover. - -[101] _Arch. Journ_., LX. - - - - -THE USE OF FABRICS AND LINEN - - -An important variety of defensive armour, which has not hitherto -received the notice which it deserves, is the padded and quilted -armour of linen, which was always popular with the foot-soldier on -account of its cheapness, and was in the thirteenth century held in -high esteem by the wealthier knight. In the case of crushing blows -it would of course protect the body from breaking of the skin, -but would not be of such use as the more rigid defence of plate. -It was, however, very effectual against cutting blows, and had -the advantage of being more easily put on and off, and, although -hot, was less oppressive than metal in long marches. In miniatures -of the fourteenth century we frequently find parts of the armour -coloured in such a way as to suggest that it is either not metal -or else metal covered with fabric. Where there was no metal and -where the wearer depended entirely on the fabric for protection it -was heavily quilted and padded, or else several thicknesses of the -material were used (Fig. 40). Where metal was used the defence was -the ordinary plate armour covered with fabric, or the metal was -inserted in small plates as is the case in the brigandine. - -[Illustration: FIG. 40. Pourpointed cuisses from the brass of Sir -John de Argentine, Horseheath, Cambs, 1360.] - -It is not the intention of the present section to deal with the -various details of defensive armour except only as far as those -details bear directly on the employment of fabrics, therefore the -construction of the brigandine, which is well known to all students -of the subject of armour and weapons, will be found under the -heading of the Craft of the Armourer on page 49. The same may be -said of the horn and metal jacks which were a humbler form of the -brigandine. The most concise descriptions of such armour will be -found in the Catalogue of Helmets and Mail by de Cosson and Burgess -(_Arch. Journ._, XXXVII). Guiart in his Chronicles, written in the -early part of the fourteenth century, speaks of “cotes faitices de -coton a pointz entailliez.” These were probably common doublets, -quilted or laced like the jack. - -Few of these defences of fabric have survived, owing to the ravages -of moth and damp. - -In the Pitt-Rivers Museum, Oxford, are a pair of culottes or -drawers lined with thin busks of steel, and also two sets of -rose-pink silk doublets, breast, back, and fald padded with cotton, -both presumably of the late sixteenth century; they are noticed in -_Arms and Armour at Oxford_, by the present writer, but no definite -history is known of either of the specimens. Doublets and “coats -of fence” of this nature occur frequently in inventories and other -documents, but the following extracts give certain definite details -which bear directly on the subject. - - 1150-1200 (?). _Speculum Regale, Kongs-Skugg-Sio_, edit. 1768, - pp. 405-6 (actual date unknown). - - For the rider the following accoutrements are necessary: - coverings for the legs, made of well-blacked soft linen sewed, - which should extend to the kneeband of his chaucons or breeches; - over these steel shin-pieces so high as to be fastened with a - double band. The horseman to put on linen drawers, such as I have - pointed out. - - (Of the horse) let his head, bridle, and neck, quite to - the saddle, be rolled up in linen armour, that no one may - fraudulently seize the bridle or the horse. - -[Illustration: _PLATE XXI_ - -HALF ARMOUR, CIRC. 1520 - -TONLET SUIT BY CONRAD LOCHNER, 1510-1567 - -“MAXIMILIAN” ARMOUR, CIRC. 1515] - -There is a doubt as to the actual date of this manuscript. In -the edition from which the above translation is taken it is -described as of Icelandic origin about the year 1150, but it may -be possibly as late as the beginning of the thirteenth century. -The details of the dress worn under the armour may be compared on -the one hand with the leggings shown on the Bayeux tapestry and -on the other hand with those mentioned in the Hastings MS. of the -fifteenth century (_Archæologia_, LVII), which gives the details of -undergarments worn by the armed man at this date (page 107). The -horse-armour is the “couverture” or trapper so frequently mentioned -in inventories, which was often decorated with fine embroidery. -Even altar-hangings were used for this purpose, as was the case in -the sack of Rome in 1527. Padded horse-armour was used in the -fifteenth and early sixteenth centuries for tournaments, minute -regulations for which are found in the _Traité d’un Tournoi_ by -King René of Anjou, which will be referred to farther on in this -chapter. - -[Illustration: FRONT. BACK. - -FIG. 41. Padded Horse-armour for the Tourney (from King René’s -_Traité d’un Tournoi_).] - - 1286. _Comptus Ballivorum Franciæ._[102] - - Expense pro cendatis, bourra ad gambesones, tapetis. - -This item is evidently for stuffing gambesons with cendal[103] and -tow. Cendal is somewhat of a mystery as to its exact nature. Like -all fabrics of past ages, we can but guess at its nature. It has -been discussed under its name in Gay’s _Glossaire Archæologic._ - - 1296. _Ordonnances des Métiers de Paris_, p. 371. - - Que nus (armuriers) ne puisse fère cote ne gamboison de tèle - dont l’envers et l’endroit ne soit de tèle noeve, et dedenz de - coton et de plois de toiles, et einsi que est qu’il soient dedenz - d’escroes. - - It. Si l’en fait cote ne gamboison dont l’endroit soit de cendal - et l’envers soit de tèle, si veulent il que ele soit noeve et se - il i a ploit dedenz de tèle ne de cendal, que le plus cort ploit - soit de demie aune et de demi quartier de lonc au meins devant, - et autant derrières, et les autres plois lons ensuians. Et si il - i a borre de soie qui le lit de la bourre soit de demi aune et - demy quaritier au meins devant et autant derrières et se il i a - coton, que le coton vienge tout contreval jusques au piez. - -The first of these regulations concerns the materials used, and -is very similar to that of the Armourers’ Company of London made -in 1322, which is given in full in Appendix A. So much of the -work of the padding and lining was hidden from sight that these -regulations were most necessary to prevent the use of old rags and -bad materials. The second entry seems to refer to the manner in -which canvas and cendal were to be used and in what proportions. -It should be noticed that at this period the surcoat, in England -at any rate, was being gradually shortened. The regulation above -quoted, however, suggests in the last sentence that in France it -was still worn long. - - 1311. _From the same source as the above._ - - Que nules d’ores en avant ne puisse faire cote gamboisée où il - n’ait 3 livres de coton tout neit, se elles ne sont faites en - sicines et au dessous soient faites entre mains que il y ait un - pli de viel linge emprès l’endroit de demi aune et demi quartier - devant et autant derrière. - -Here the quantity of cotton is given and it is ordered to be new. -It seems to have been allowed to put old linen, but this may -possibly only mean seasoned linen, between the folds. - - 1322. _Chamber of Accounts, Paris._ - - Item Adae armentario 40 sol 4 d. pro factoris gambesonorum. - -The name “Ada” of the armentarius rather suggests that it might be -a female who provided these gambesons. - - 1383. _Chronique de Bertrand du Guesclin_ (_T. II, p. 95_, 235.) - - Ainsois l’ala d’une lance tranchant - L’escu li a rompu et le bon jaserant - Mais l’auqueton fu fort qui fu de bougeran - - * * * * * - - Et prendre auquetons de soie ou de bougerans. - -From the context of the first extract this haketon of buckram would -appear to be a very serviceable defence, for the lance which had -penetrated the shield and the jaserant, or coat of plate, had not -penetrated the undergarment of buckram. Like all other fabrics -mentioned in medieval writings, we cannot definitely say of what -material this buckram was composed, but from the second extract it -seems to have been used equally with silk for the haketon. - - 1450. _Ordinance of Louis XI of France, Chambres des Compts, - Paris._[104] - - ... l’abillement de jacques leur soit bien proufitable et - avantageux pour faire la guerre, veu qui sont gens de pié, et que - en ayant les brigandines il leur faut porter beaucoup de choses - que en homme seul et à pied ne peut faire. Et premièrement leur - faut des dits jacques trente toilles, ou de vingt-cinq, à un - cuir de cerf a tout le moins: et si sont de trente-un cuirs de - cerf ils sont des bons. Les toiles usées et déliées moyennement - sont les meilleures; et doivent estre les jacques a quartre - quartiers, et faut que manches soient fortes comme le corps, - réservé le cuir. Et doit estre l’assiette pregne pres du collet, - non pas sur l’os de l’épaule, qui soit large dessoulz l’assielle - et plantureux dessoulz les bras, assez faulce et large sur les - costez bas, le collet fort comme le demourant des jacques; et que - le collet ne soit bas trop hault derrière pour l’amour de salade. - Il faut que ledit jacque soit lasse devant et qu’il ait dessoulz - une porte pièce de la force dudit jacque. Ainsi sera seur ledit - jacques et aise moienant qu’il ait un pourpoint sans manches ne - collet, de deux toiles seulement, qui naura que quatre doys de - large seur lespaulle; auquel pourpoint il attachera ses chausses. - Ainsi flottera dedens son jacques et sera à son aise. Car il ne - vit oncques tuer de coups-de-main, ne de flêches dedens lesdits - jacques ses hommes. - -These very minute regulations show that the “jack” was considered a -most serviceable defence in the fifteenth century. At the same time -it must have been a hot and uncomfortable garment, for twenty-nine -or thirty thicknesses of linen with a deerskin on the top, or worse -still thirty-one thicknesses of deerskin, would make a thick, -unventilated defence which would be almost as insupportable as -plate armour. The last item may be a clerical error, and indeed -from the context it would appear to be thirty thicknesses of linen -with one of deerskin, for the leather would be far more costly to -work up than the linen. The extract has been given in full because -it is so rare to come across practical details of construction of -this nature. - - 1470. _Harl. MS. 4780. Inventory of Edward IV._ - - Item a doublet of crimson velvet lined with Hollande cloth and - interlined with busk. - -This may be only an ordinary doublet, or it may be some kind of -“coat of fence” or “privy coat” lined with plates of steel, horn, -or whale-bone. These “busks” of steel are found as late as the -seventeenth century, for Gustavus Adolphus had a coat lined with -them (Lifrustkammer, Stockholm) and Bradshaw’s hat (Ashmolean Mus., -Oxford) is strengthened with steel strips. (Fig. 50.) - - 1450 (_circ._). _Traité d’un Tournoi_, King René. - - ... que ledit harnoys soit si large et si ample que on puisse - vestir et mettre dessoulz ung porpoint ou courset; et fault que - le porpoint soit faultre de trys dois d’espez sur les espaules, - et au long des bras jusques au col. - - * * * * * - - En Brabant, Flandre et Haynault et en ce pays-la vers les - Almaignes, ont acoustome d’eulx armer de la personne autrement au - tournoy: car ils prennent ung demy porpoint de deux toilles ... - de quatre dois d’espez et remplis de couton. - -It would seem from the above that in France the garment worn under -the tourney-armour was folded till it was three fingers thick on -the shoulders. In the Low Countries, however, the pourpoint was -of a different fashion, for there they made the garment of two -thicknesses and stuffed this with cotton-waste to the thickness -of four fingers. The difference of thickness can be accounted -for by the fact that folded linen would not compress so much as -cotton-waste. It should be noted in the extract from the Ordinances -of Louis XI that old material is advised as being more pliable -and softer. At the same time we may be sure that it was carefully -chosen. It is interesting to note that in 1322 the material is -ordered to be new, but in 1450 old linen is recommended. - -[Illustration: _PLATE XXII_ - -GAUNTLETS AND GORGET - - 1. BRIDLE GAUNTLET. - 2. RIGHT HAND GAUNTLET BY JACOB TOPF, PART OF THE “LEICESTER” SUIT. - 3. BRIDLE GAUNTLET OF JAMES I. - 4. XV CENT. GAUNTLET WITH “GADLINGS” ON THE KNUCKLES. - 5. LOCKING GAUNTLET, XVI CENT. - 6. BRIDLE GAUNTLET, XVI CENT. - 7. PARADE GAUNTLET BY HEINRICK KNOPF, 1590. - 8. GAUNTLET FOR FIGHTING AT BARRIERS, XVI CENT. - 9. GORGET BY JACOP JORINGK, 1669.] - -Besides the making of undergarments or complete defences of linen -overgarments, pourpoints, the Linen Armourers, as we find them -called in the City of London Records, made linings for helmets. -This was a most important detail in the equipment of a man, for the -helm or helmet was worse than useless if it did not fit securely -and if the head was not adequately padded to take off the shock -of the blow. In the Sloane MS. 6400, we find among the retinue of -Henry V at Agincourt, “Nicholas Brampton, a stuffer of bacynets,” -and in the Oxford City Records under the date 1369 are the entries -“Bacynet 13/4, stuffing for ditto 3/4.” In the Hastings MS. -(_Archæologia_, LVII), among the items given as the “Abilment for -the Justus of the Pees,” the first on the list is “a helme well -stuffyd.” This stuffing consisted of a thickly padded cap or lining -tied to the head-piece with strings, which are clearly shown in -the well-known engraving of Albert Dürer, of a man and a woman -supporting a shield on which is a skull (Fig. 42, 2). There are -some of these caps in the Waffensammlung, Vienna, which have been -noticed in Vol. II of the _Zeitschrift für Historische Waffenkunde_. - -[Illustration: FIG. 42. - - 1. Padded “harnisch-kappe,” Vienna. - 2. Helm showing attachment of cap and lining (after Dürer).] - -The original lining of Sir Henry Lee’s helmet (Plate XIII) is still -_in situ_; this, however, is riveted to the helmet and follows -the shape of the head. In this respect it is different from the -helmet-cap, which was padded. A padded cap was worn independently -of the lining of the helmet. These are shown on Figs. 43, 44. -Similar caps are shown on the following works of Dürer: S. George -on foot, S. George (Stephan Baumgartner) and Felix Hungersbourg. - -[Illustration: FIG. 43. Sallad-cap (from a picture by Paolo -Morando, 1486-1522, No. 571, Uffizi, Florence). - -FIG. 44. Helmet-cap (from a sixteenth-century engraving of Iacob -Fugger).] - - 1586. _Chronicles_, Raphael Holinshed (edit. 1807, II, xvi, 333). - - Our armour differeth not from that of other nations, and - therefore consisteth of corselets, almaine riuets, shirts of - maile, iackes quilted and couered ouer with leather, fustian, - or canuas, ouer thicke plates of iron that are sowed in the - same, & of which there is no towne or village that hath not hir - conuenient furniture. - -These defences are of the same nature as the jack shown on Figs. -24, 25. The brigandine was more elaborate and costly, for it was -composed of small plates riveted to the foundation and covering -of fabric and was therefore the work of a skilled artificer. The -jack, on the other hand, was more easily put together and could be -done by the wearer himself or by his wife. An interesting example -of one of these village armouries mentioned above is to be found -at Mendlesham Church, Suffolk, in the strong-room of which are -portions of suits and half-suits dating from the late fifteenth to -the middle of the seventeenth century. The church also preserves -the records of the upkeep of the equipment, one of the last entries -being in 1613, a payment of 1s. 4d. to an armourer for “varnishinge -the town head-piece and the corslitt and for setting on leathers -and rivettes.” - - 1591-5. _Instructions, Observations and Orders Militarie, p. - 185_, Sir John Smith. - - Archers should weare either Ilet holed doublets that will resist - the thrust of a sword or a dagger and covered with some trim and - gallant kinde of coloured cloth to the liking of the Captain ... - or else Iackes of maile quilted upon fustian. - -From the nature of their composition these “eyelet doublets” are -rarely to be met with. They were made of twine or thread knitted -all over in eyelets or button-holes. The appearance is much the -same as modern “tatting” and macramé work. The best-known examples -are in the Musée Porte de Hal, Brussels (II, 81), in the Cluny -Museum, and in the Musée d’Artillerie, G, 210 (Fig. 45). - - 1662. _Decades of Epistles of War_, Gervase Markham. - - The shot should have on his head a good and sufficient Spanish - morian well lined in the head with a quilted cap of strong linen - and bound with lined ear plates. - - 1643. _Souldier’s Accidence_, Gervase Markham. - - ... the shot should have good comb caps well lined with quilted - caps. - -It will be obvious that the maker of linings and undergarments for -the soldier had to be in constant touch with the armourer, for he -had to make allowances for the style and cut of the armour. - -[Illustration: FIG. 45. Details of Eyelet Coats. - - 1. Musée d’Artillerie, Paris, G, 210. 2. Musée de Cluny, Paris.] - -In the Wardrobe Accounts of Edward I quoted on page 79 there are -entries of payments to Robinet, the King’s tailor, for armour, -banners, crests, helmets, and robes for the King, his son, and -John of Lancaster. At the end of this chapter we shall notice this -combining of the crafts of the armourer and tailor when dealing -with the linen armourers. - -It was obviously important that the tailor should be in touch with -the armourer and suit his material and cut to the equipment worn -over them. - - 1591-5. _Instructions and Orders Militarie, p. 185_, Sir John - Smith.[105] - - No armed man should weare any cut doublets, as well in respect - that the wearing of armour doth quicklie fret them out and also - by reason that the corners and edges of the lames and jointes - of the armours doo take such holde uppon such cuttes as they do - hinder the quicke and sudden arming of men. - -All parts of the suit were lined, for in spite of the padded -undergarment there was bound to be a certain amount of chafing -which, if the armour was unlined, would in time rub through the -undergarment. In many portraits, especially those of the late -sixteenth century, the linings are shown projecting below the edges -of the various pieces of the suit. The edges of these linings are -generally scalloped. - -In the picture by Breughel on the frontispiece a cuisse is shown, -immediately beneath the basket of glass bottles in the centre -of the picture, which clearly has a padded lining. In a list of -payments for work done to Henry VIII’s armour we find “9 yards of -Cheshire cotton at 7d. for lining the king’s pasguard grandguard -great mayn de fer.” A similar charge is made in 1521 for two yards -of yellow satin at 7/4 for lining two head-pieces, two pair of -tasses, a pasguard, and two maynd fers. In 1510 we find an entry of -payment of 25 fl. 29 kr. to Walter Zeller of Innsbruck for lining -armour with black velvet and silk.[106] Frequently the padding -is shown in miniatures, especially on the inside of shields and -bucklers. The Highland targes are generally padded on the inside -with straw to take some of the shock of a blow from the arm. The -lining of such pieces as the taces and pauldrons was added to -prevent the metal over which they worked from being scratched, and -also to lessen the metallic noise, which would be a serious factor -in night attacks. Horse-armour, of course, needed heavy lining, -but little of this remains. An excellent reconstruction of lined -horse-armour is to be found on No. 620, Wallace Collection. - -The stuffing of these padded garments was not always of cotton. -In the inventory of the goods of Sir John Falstoffe, 1459 -(_Archæologia_, XXI), we find “i. jack of black linen stuffed with -mail and vi. jacks stuffed with horne, xxiiij. cappes stuffed with -horne and mayle, vj. payre of glovys of mayle of shepys skynne.” -Under the heading “Gambeson,” Du Cange[107] states that the -gambeson was stuffed with wool soaked with vinegar, to resist iron, -and he gives a reference to Pliny, Bk. VIII, c. 48, as bearing -on this statement. This was probably done to keep out vermin, a -serious factor when long marches with bad camping arrangements were -undertaken. - -In all the defences which were mainly composed of fabrics, the -object seems to have been to provide a substance which would resist -cut or thrust and at the same time would offer a certain resiliency -to the blow. A practical experiment upon thick leather and upon -folded or padded cloth will prove this. Till recent years the -Japanese made much of their armour of quilted fabrics, the chief -drawback to which was its heat and want of ventilation. - -[Illustration: _PLATE XXIII_ - -MAN AT ARMS. MIDDLE OF XV CENT.] - -This linen armour or linen and fabric covering for armour was a -distinct craft in itself, and was practised by the linen armourers, -who had the sole right to cover armour or to make such defences as -have been enumerated above. That they were also tailors we know -from their subsequent incorporation with the Merchant Tailors and -also from the Wardrobe Accounts[108] of Edward I, in which Robinet, -the King’s tailor, is mentioned as making robes and armours and -banners. - -Besides the lining of armour and the provision of padded defences -of fabric, there was a large field of employment in the covering of -armour. As may be noticed in Appendix A, this covering of helmets -seems to have been common in the first years of the fourteenth -century. There were three reasons for covering the steel head-piece -with fabric. Firstly, as Chaucer writes with regard to the mail -hauberk (page 78), to keep it from wet, the enemy of all iron and -steel work; secondly, as Roger Ascham writes of the peacock-wing -for arrows, “for gayness”; and thirdly, to prevent the glitter of -metal attracting attention.[109] In the _Treatise_ of Johan Hill, -written in 1434 (Appendix C, page 173), the covering of the armour, -especially for the legs, is ordered to be of scarlet “because his -adversarie shall not lightly espye his blode.” Helmet-bags are -mentioned in inventories, etc. In 1578 we find “steel caps with -covers” noticed in more than one will,[110] and in the Lieutenancy -Accounts for Lancashire, _temp._ Elizabeth, the archer’s dress -includes a “scull and Scottish cap to cover the same” (Fig. 46). -Several helmets in the Waffensammlungen at Vienna still show the -silk and satin coverings, and in Munich a triple-crowned burgonet -has a black velvet cover. The highly ornate Venetian sallads, -covered with crimson velvet, over which is set a gilt open-work -decoration of metal, are fairly common in collections (Plate XVI). - -[Illustration: FIG. 46. Sallad with cover, from a sixteenth-century -engraving.] - -The surcoat and tabard hardly come within the province of the -armourer, for they were quite distinct from the armour. They -were, however, in fashion in various forms till the middle of the -reign of Henry VIII, who landed in France, according to Hall, -in 1514 with a garment of “white cloth of gold bearing a red -cross.” Padded and quilted defences appear to have been worn in -the early seventeenth century, for the Hon. Roger North in his -_Examen_ writes that “there was great abundance of silk armour,” -which in many cases was said to be of pistol proof. Some of these -backs, breasts, and taces, wadded with cotton and covered with -salmon-coloured silk, are preserved in the Pitt-Rivers Museum, -Oxford. - - -THE LINEN ARMOURERS - -As we have seen on page 91, in the thirteenth and fourteenth -centuries the tailor was often also a purveyor of armour. M. -Buttin[111] quotes several extracts from documents of the -fourteenth century in which different names of craftsmen appear -classed as “Brodeurs et Armuriers.” It may not be out of place to -notice here that the “milliner” of the present day was originally -the Milaner or Milanese pedlar, who purveyed armour, weapons, and -clothing of all sorts. - -The Linen Armourers, as they were called, were a gild distinct from -the Armourers, for in 1272 they were instituted as “The Fraternity -of Tailors and Linen Armourers of Linen Armour of S. John the -Baptist in the City of London.” Edward III was an honorary member -of the gild, and Richard II also became a member when he confirmed -their charter. Their first patent of arms was granted by Edward -IV in the year 1466, and in this document the society is called -“Gilda Armorarii.”[112] This naturally causes some confusion with -the Armourers’ Company, and in many documents it is uncertain -which gild is referred to. The first master was Henry de Ryall, -who was called the Pilgrim or Traveller. As has been stated above, -their first charter was from Edward III. Richard II confirmed by -“inspeximus” this charter. Henry IV also confirmed the charter, and -Henry VI granted right of search, which allowed the gild to inspect -shops and workshops and confiscate any work which did not come up -to their standard. It is doubtful whether the document given in -Appendix A refers to this gild or to that of the Armourers, for -it contains regulations which would affect both gilds. It gives -details as to that “right of search” which was an important part of -the duties of the gilds. - -In the reign of Edward IV the gild was incorporated, and under -Henry VII it became the Merchant Tailors’ Company, with the charter -which is held by that company at the present day. This charter was -confirmed by Henry VIII, Edward VI, Philip and Mary, Elizabeth, and -James I. - - -FOOTNOTES: - -[102] Meyrick, _Antient Armour_, I, 139. - -[103] Cf. jupon of Black Prince at Canterbury, wadded with cotton. - -[104] See also Du Cange, _Glossaire_, under “Jacque.” - -[105] Cousin of Edward VI, and knighted by Elizabeth in 1576. His -free criticism on military matters led to the suppression of his -“Discourses on the form and effects of divers sorts of weapons,” -and he was committed to the Tower. - -[106] _Jahrbuch des Kunsthist. Sammlungen_, II, 995. - -[107] Johnes’ edit., I, 131. - -[108] _Lib. Gardrobæ_, 28 Ed. I, 1300. Soc. of Antiq. - -[109] _Vide_ modern War Office regulations of the present day as to -scabbards of swords, Highland kilts, etc. - -[110] _Arch. Journ._, LX, “Armour Notes.” - -[111] _Le Guet de Genève_, Geneva, 1910. - -[112] _Hist. of 12 Livery Co.’s of London_, Herbert, 1836. - - - - -THE USE OF LEATHER - - -From the earliest times leather has been a favourite material for -defensive armour. The shield of Ajax was fashioned of seven bulls’ -hides, and the soldiers of the King and of the Parliament in the -Civil War favoured the buff coat. Between these periods leather -was utilized in many ways, and when specially treated was a most -serviceable protection which had the merit of being lighter and -less costly than metal. The word “cuirass” itself is derived from -the body-defence of leather (cuir). - -[Illustration: FIG. 47. Cuirass from the sketch-book of Willarsde -Honecourt, thirteenth century.] - -The Hon. Robert Curzon, writing in 1869, mentions a cuirass of -three thicknesses of leather found in a stone coffin of the -thirteenth century (_Arch. Journ._, XXII, p. 6). - -At a time when the weaving of fabrics was in a more or less -primitive state, the skins of beasts were used either as the sole -defence of the warrior or were reinforced with plates of metal -applied over the most vital parts of the body (Figs. 47, 48). - -It is always a matter of some difficulty, especially in the earlier -examples, to tell what materials are intended in illuminated -miniatures, for we find what appears to be plate armour painted -brown or parti-coloured, and this points to the fact that armour of -all kinds was frequently painted, even chain mail being coloured to -suit the taste of the wearer, and also, a more important reason, -to preserve it from wet and rust. In some representations of scale -armour, the drawing of the scales, as for example the figure given -on Plate 1, 2, of my book on Armour and Weapons, suggests -leather rather than metal, and certainly the much-debated-upon -“banded mail” must have been a mixture of leather and metal. - -[Illustration: FIG. 48. Leather Gauntlet, Ashmolean Museum, Oxford.] - -Towards the end of the twelfth century we find the material known -as “cuir-bouilli” or “cuerbully” mentioned as being used for the -armour of man and horse. The hide of the animal was cut thick, -boiled in oil or in water, and, when soft, moulded to the required -shape. When cold it became exceedingly hard and would withstand -nearly as much battle-wear as metal. - -It had the advantage of being easily procured, easily worked, and -also of being much lighter than the metal. For this reason it was -used largely for jousts and tourneys, which up to the fifteenth -century were more of the nature of mimic fights than was the case -at a later date, when the onset was more earnest and the armour was -made correspondingly heavy to withstand it. - -[Illustration: _PLATE XXIV_ - -PARADE SHIELD BY DESIDERIUS COLMAN, 1554 - -THE DETAIL IS GIVEN ON PAGE 135] - -The best leather seems to have come from Spain and especially from -Cordova. Among the _Ordonnances des rois_ in the Bib. Nat. Français -(T. II, 357) we find it distinctly stated that Cordova leather was -far better than that of France or Flanders. This may have been due -to the breed of horses or cattle found there, but it is more likely -that the tanners of that town had made a speciality of treating the -hides. - -On the sculptured effigies and monumental brasses of the fourteenth -century we find the jambs and poleynes often richly decorated and -moulded with more skill than the other parts of the armour,[113] -and these were probably of cuir-bouilli. - -The d’Aubernon, Setvans, and Gorleston brasses are good examples -of this. Chaucer in his _Rime of Sir Thopas_ mentions jambs of -cuir-bouilli as being part of the ordinary equipment of the knight -(see page 100). - -[Illustration: FIG. 49. Brassard of leather and cord for the -tourney (from René’s _Traité d’un Tournoi_).] - -Both King Rene and Antoine de la Salle prescribe cuir-bouilli as -the material for the brassards used in the tourney (Fig. 49), -and this fashion seems to have lasted from the last quarter -of the thirteenth century, at which date we have cuir-bouilli -armour mentioned in the roll of purchases for the tournament at -Windsor Park, held by Edward I, down to the last quarter of the -fifteenth century. Oliver de la Marche, writing at the end of the -same century, describes the armour of Mahiot and Jacotin Plouvier -fighting in a duel as being of cuir-bouilli sewn on the body, legs, -and arms.[114] In his _Advis de gaige de battaile_ the same author -mentions leather armour as being only fit for the man who is “point -gentilhomme.” - -As late as the year 1500 cuir-bouilli was much used for -horse-armour on account of its lightness. Of this we have two -specimens remaining to us in the full suit at Turin (G, 2) and -the crupper at the Tower (VI, 89). The horse on Plate XVII -is apparently armed with mail which is covered with trappers -of leather. The original, which was an ivory chessman in the -possession of Rev. Eagles, has disappeared. It was figured by -Hewitt in _Ancient Armour_, Vol. I, and was cast. The photograph -given here is from the cast. Among the few specimens of leather -armour for the man may be noted a morion in the Zeughaus, Berlin -(60_b_), and a pair of seventeenth-century leather “lobster-tail” -cuisses at Goodrich Court, Herefordshire. - -The reason for this dearth of examples of leather armour in -collections at the present day is twofold. Much of the discarded -armour of this nature would be used for various domestic purposes, -such as jugs, horse-furniture, and such-like uses, and also much -would be thrown away as useless, for leather unless carefully kept -and oiled tends to crack and warp out of shape. - -The above-mentioned bards for horses appear frequently in paintings -of the early sixteenth century. The picture of the battle of -Pavia in the Ashmolean Museum, Oxford,[115] shows many of these -brilliantly painted with armorial and fancy designs, and the -absence of rivet-heads points to the fact that they are not of -metal. - -The painting of bards seems to have been a distinct trade, for we -find in the Statuto de’ pittori Fiorentini rubr. 79 (_Carteggio -ined. d’artisti_, T. II, p. 40) regulations forbidding any but the -registered bard-painters to undertake such work. - -That cuir-bouilli was not proof against firearms we learn from Jean -de Troyes (page 260), who writes: “Si y eut un cheval tout barde de -cuir bouilli qui fut tue d’un coup de coulverine.” This refers to -the date 1465, when firearms were but primitive weapons. Dressed -leather, however, in the form of the buff coat was used up to the -middle of the seventeenth century, when the penetrating power of -the bullet was greater. At the same time we should remember, as -Marshal Saxe very truly points out in his advocacy of plate armour -(_Rêveries_, p. 58), that many wounds at this time were caused -by sword, lance, and spent bullet, all of which might have been -avoided by the use of some thick material. The Marshal suggests -sheet-iron sewn upon a buff coat, but the buff coat itself, ⅜ in. -thick, would be a very adequate, though hot and heavy, protection -without the addition of metal. - -The leather guns of Gustavus Adolphus will be found mentioned in -the following pages, but these were only covered with leather, -presumably to protect them from wet, and were not made entirely of -this material. We have no record of cuir-bouilli being employed -to make artillery, and of course the chief reason against its use -would be the weakness of the seam or join. - -[Illustration: FIG. 50. Hat of Bradshaw the regicide, of leather -and steel. Ashmolean Mus., Oxford.] - -The only use of leather or cuir-bouilli for defensive armour found -at the present day is found in the small bucklers of the hill -tribes of India. These are often so skilfully treated that the -leather is transparent and is almost impervious to a sword-cut, -forming a very fair defence against the bullet from the primitive -flintlocks in use among those tribes. - -The leather hat reinforced with steel plates given at Fig. 50 was -worn by the regicide Bradshaw at the trial of Charles I.[116] - - -REFERENCES TO LEATHER AND CUIR-BOUILLI FROM CONTEMPORARY DOCUMENTS - - 1185. _Chanson d’Antioche._ - - Moult fu riches qu’il li a chief mi - Son poitrail lui laca qui fu de cuir bolis. - -The “poitrail” in this extract is the breastplate of the knight and -not of the horse. - - 1278. _Roll of Purchases for the Tournament at Windsor Park._ - - De Milon le Cuireur xxxviij quiret: p’c pec iij s. - - Itm. ij Crest & j Blazon & una galea cor & j ensis de Balon de - Rob’o Brunnler xxxviij galee de cor p’c galee xiv. - -This tournament seems to have been more of a pageant than a serious -contest like those of the fifteenth century. No armour of metal is -mentioned among the purchases and the weapons are of whalebone, -a material which was used also for gauntlets, as we know from -Froissart’s[117] description of the equipment of the troops of -Philip von Artevelde at the battle of Rosebecque in 1382. Whalebone -was also employed for “privy coats” or brigandines, in which it -was inserted between the lining and the cover. Buckram is also -mentioned as being used for body-armour, which material will be -found alluded to in the section devoted to the Linen Armourers. - - 1345. _Les Livres de Comptes des Freres Bonis_, I. 174, Forestie. - - Item deu per un brasalot ... de cuer negre. - - 1351. _Ordonnances du roi Jean IV_, 69. - - Ordenons que l’arbalestrier ... sera arme de plates ... et de - harnois de bras de fer et de cuir. - -These brassards of cuir-bouilli seem to have been common in the -fourteenth century; their popularity being doubtless due to their -lightness and cheapness as compared with metal. M. Buttin in -his interesting pamphlet _Le Guet de Genève_[118] gives several -extracts from inventories and other documents which bear out this -statement. - - 1350. _Rime of Sir Thopas_, Chaucer. - - His jambeux were of curebully. - -[Illustration: _PLATE XXV_ - -DRAWING BY JACOB TOPF, 1530-1597 - -FROM THE “ARMOURER’S ALBUM,” VICTORIA AND ALBERT MUSEUM] - -[Illustration: _PLATE XXVI_ - -ARMOUR OF SIR CHRISTOPHER HATTON, BY JACOB TOPF] - -The skilfully modelled jambs and poleynes which appear on many -brasses and effigies of the fourteenth century rather suggest that -leather was used and not metal, as the rest of the armour does not -show such skill of forging. These leg-pieces are nearly always -shown as richly engraved, which also points to the suggestion that -they were of cuir-bouilli, which would be an easier material to -decorate with painting or modelling than metal. - - 1411. _Inventorie de l’ecurie du roi, f. 108 vo._ - - Une armure de cuir de Surie pour armer l’homme et le cheval. - - 1450. _Traité d’un Tournoi_, Roi René. - - En Brebant, Flandres et Haynault at en ces pays la vers Almaignes - ... mettant unes bracieres grosses de 4 dois d’espez et remplies - de cotton sur quoys ils arment les avant bras et les garde-bras - de cuir bouilly. - -This entry may be compared with that of the Windsor Park -Tournament quoted above. King René’s book has the advantage of -being illustrated with drawings of these and all the other details -mentioned in his regulations for a tourney. The brassards shown in -the drawing have cords fixed lengthways so as to provide an extra -protection against the blow of the mace or wooden sword which René -describes as the weapons to be used. Brassards of a similar kind -are mentioned in Antoine de la Salle’s _Des anciens tournois et -Faictz d’Armes_ (edit. B. Prost., p. 120). - - 1471. _Inv. du Roi Rene à Angers, fo. 3 vo._ - - Quatre targetes de cuir bouilly a la facon de Tunes. - -These targets, made after an Oriental model, would probably -resemble those which are frequently seen in India and Persia at the -present day, in which the leather is hard and often highly polished -and decorated with painting and gilding. The Highland targe is -fashioned differently, for the foundation is of wood and the skin -or hide stretched over it. - - 1480. _L’Artillerie des Ducs de Bourogne, Garnier, appendix, p. - 230._ - - Onze gands et huit brasselets de cuir pour archiers. - -Here the “brasselets” are not arm-defences, but are simply the -“bracer” or arm-guard which protected the wrist of the archer from -the string of his own bow when released. - - 1493. _L’advis de gaige de battaille_, O. de la Marche. - - S’il n’est point gentilhomme il peut combattre selon l’ancienne - coustume armé de cuir bouilly. - -This evidently refers to the regulations laid down by King René -in 1450, and suggests that by the end of the fifteenth century -they had become obsolete and that full plate armour was the only -equipment for the joust or tourney. - - 1500. _Inv. de Francois Ier. de Luxembourg, p. 6._ - - Plusiers bardes de chevaux de cuyr de cartes ou cartons. - -The last-named materials were obviously only employed for parade -or masque. They would be early forms of papier-maché, but were -probably more like the modern cardboard than the hard papier-maché -now in use. - - 1559. _Notes sur Dioscoride, II, chap. 21_, Matthée. - - Le cheval marin une beste du Nil [the hippopotamus] de la peau - l’on en fait des écus, animes et rondelles; aussi n’y ha il - armes n’y poinctures quelles qu’elles soyent qui la puissent - transpercer, si premièrement elle n’est baignée. - -This entry shows clearly that even the hide of the hippopotamus -was not held to be weapon-proof till it had been soaked (in water -or oil). One of these leather bards exists in the Armeria Reale, -Turin, B, 2. It is catalogued as being of hippopotamus hide. A -crupper of cuir-bouilli (VI, 89) is the only specimen of leather -armour in the Tower. - - 1630 (_circ._). _Hist. of London, p. 26_, Pennant (1790). - - Robert Scot ... was the inventor of leather artillery which he - introduced into the army of Gustvus Adolphus. - - 1644. _Military Memoirs of the Great Civil War, p. 42_, Gwynne. - - At Crobredery Bridge (Cropredy) we overtook Waller’s army which - we engaged and beat, took Wemes General of their army prisoner - and withal took his leather guns which proved serviceable to the - King. - -These leather guns were formed of a cylinder of copper round -which was twisted thick hempen cord and the whole enveloped in a -leather jacket. An example which is traditionally stated to be -one of Scot’s guns used by Gustavus Adolphus, is exhibited in the -Rotunda Museum, Woolwich (II, 173). The dolphins on this specimen -are fashioned to the letter “G” placed horizontally. There are two -similar guns in the Musée d’Artillerie. - - 1678. _Traité des Armes, p. 55_, Gaya. - - Quoy que les Bufles ne soient proprement que les habillemens de - Cavaliers, nous pouvons neanmoins les mettre au nombre de leurs - armes deffensives, plus qu’ils peuvent aisement résister à l’Epée - lors qu’ils sont d’une peau bien choissie. - - Les Bufles ... sont faits en forme de Juste-au-corps à quatre - basques qui descend jusqu’aux genoux. - - Il n’y a pas un Cavalier dans les trouppes de France qui n’ait un - habillement de Bufle. - -The buff coat of leather or “cuir de bœuf” was a part of the -military equipment as early as 1585 and was in common use during -the Civil War. It was worn by the Life Guards at the Coronation of -James II in 1685 and by a detachment of the Artillery Company at -the entry of George I in 1714. It ceased to be worn as part of the -uniform in the following reign.[119] - - 1591-5. _Instructions, Observations and Orders Militarie, p. - 185_, Sir John Smith. - - ... halbadiers ... armed with burganets and with short skirted - Ierkins of buffe with a double buffe on their breasts and the - sleeves of their doublets with stripes of maile or serecloth - aforesaide. - -Here we find a return to the primitive defence of the eleventh -century, due to the increased weight of armour which was necessary -against the improved firearms which were by this time a serious -factor in war. The serecloth recommended was probably a stout -waxed or oiled canvas. In recommending sleeves of mail, which are -shown on Plate XVIII, Sir John Smith considers that they are more -convenient for the handling of the halberdier’s weapon than the -more rigid brassards worn by the cavalry. These strips of chain are -shown on one of the figures painted by Memling for the “Chasse of -S. Ursula” at Bruges, 1486, which is given on Fig. 24 of this work. -They have been re-introduced as shoulder-straps for heavy cavalry -at the present day. - - -FOOTNOTES: - -[113] The Pembridge effigy in Hereford Cathedral has thigh-pieces -which apparently represent leather laced on the inside. - -[114] _Memoirs_, Vol. I, ch. 33. - -[115] _Arms and Armour at Oxford_, C. ffoulkes. - -[116] _Arms and Armour at Oxford_, C. ffoulkes. - -[117] Johnes’ trans., I, 739. - -[118] Kündig, Geneva, 1910. - -[119] Cannon, _Historical Records of the Life Guards_, p. 74. - - - - -THE WEARING OF ARMOUR - - -Though perhaps the wearing and putting on of armour was not -directly part of the craft of the armourer, it was certainly a part -of his duties to be present during the process and be ready to -carry out any small alterations which might be needed on the spot. - -As has been noticed in a preceding chapter, as late as 1625 we -find this insisted upon by de Pluvinel (see page 115). Shakespeare -describes the armourers as busy “accomplishing the knights” before -Agincourt (page 33), and the fact that the travelling knight took -his armourer with him shows that he was indispensable during the -operation of dressing for war or joust. - -Armour of the best kind was made to measure, and for ordinary -purposes a mould or “dobble” was kept on which to make the ordinary -harness for the man-at-arms (page 28). The following extracts show -the methods employed for sending measurements, which were often -obtained by submitting the clothes of the patron to the armourer:-- - - 1406. In the will of Sir Ralph Bulmer, “armatura mea corpori - talliata.”[120] - - 1470. _Archives de Bruxelles._[121] - - Baltazar du Cornet, armourer at Bruges, delivers for the Duke - of Burgundy “2 cuiraches complettes faites a la mesure de - Monseigneur.” - - Lazarus de St. Augustin delivers “un harnais complet fait naguere - a la mesure de Monseigneur et pour son corps.” - - 1512. A jacket and hose of Prince Charles (afterwards Charles V) - are sent to Conrad Seusenhofer.[122] - - 1520. _Brit. Mus., Calig. D, VIII_, 181. - - 16 March. Francis I asks for an “arming doublet” of Henry VIII - that he may have made a new kind of cuirass which he will send - him as a present. - -[Illustration: _PLATE XXVII_ - -DRAWING BY JACOB TOPF, 1530-1597 - -FROM THE “ARMOURER’S ALBUM,” VICTORIA AND ALBERT MUSEUM] - -[Illustration: _PLATE XXVIII_ - -ARMOUR OF SIR JOHN SMITH, BY JACOB TOPF] - - 1564. _S.P.D. Elizabeth, Jan. 30._ - - Warrant to the Master of the Armoury. To cause to be made one - armour complete fit for the body of our well beloved servant - Christopher Hatton, one of our Gentlemen Pensioners, he paying - according to the just value thereof. - - 1667. _Verney Memoirs, IV_, 301. Rich. Hals to Edmond Verney. - - The armour fits well enough only the man did cut away to much - just under the arme pit both of back and breast, but for the head - piece it is something heavy, yet I think it well enough if it did - not come downe so low upon my forhead as to cover all my eyes and - offend my nose when I put my head backwards to look upwards. - -[Illustration: FIG. 51. Stripping the dead (Bayeux Tapestry).] - -In the preceding chapter some notice was taken of the part which -the linen armourer played in the equipment of the armed man, and it -was to him that the clothing which was worn under the armour was -entrusted. Under the heading of the “Cleaning of Armour” mention -has been made of Chaucer’s knight whose “gipoun” was “besmoturyd -with his haubergeon,” but this garment was an outer garment or -surcoat. In the age of plate armour a complete dress was worn for -legs, arms, body, and head to prevent the chafing of the armour, -which in spite of its own lining of silk, velvet, cloth, leather, -or other fabric would cause grave inconvenience, if not danger -to the wearer. Besides this reason there was also a question -of warmth, which was of importance, for in long marches and -expeditions there was no warmth in a suit of plate, in fact there -was an added cold which had to be counteracted by warm garments -worn underneath. - -[Illustration: FIG. 52. Knight arming (from _Livre des Nobles -Femmes_, Bib. Nat., Paris, fourteenth century).] - -In the eleventh and twelfth centuries we have not much in the -way of documentary evidence which will help us as to the clothes -worn under the armour. The Bayeux Tapestry shows us the wounded -and dead being stripped of their hauberks, under which nothing -was apparently worn (Fig. 51). It should be remembered, however, -that these hauberks were probably of quilted fabric, which -therefore did not gall the body of the wearer. The drawing from a -fourteenth-century manuscript on Fig. 52 gives some hint at the -arming-doublet, which will be noted farther on in this chapter, -and shows also the laces or points that held up the hose. Towards -the end of the fourteenth century, however, we find on the incised -brasses, which are such valuable records of the military equipment -of the period, very distinct garments represented. On the brass -to Sir John de Creke at Westley Waterless, Cambs, 1325, we see -the “cyclas” or outer surcoat, the “upper pourpoint,” of fabric, -studded with metal, “the hauberk,” and under all the “haketon” -or “gambeson” (Fig. 53). According to William de Guilleville, in -the _Pèlerinage de l’Ame_, written in the fourteenth century, the -“pourpoint” was so called because of its quiltings:-- - - De pontures de gambison - Pourquoi pourpoint l’appelle-t-on. - -[Illustration: FIG. 53. Brass of Sir John de Creke, Westley -Waterless, Cambs, 1325. - - 1. Bascinet. - 2. Vervelies and camail. - 3. Cyclas or surcoat. - 4. Upper pourpoint. - 5. Hauberk. - 6. Gambeson or haketon. - 7. Poleynes. - 8. Beinbergs or jambs.] - -The gambeson continued in use up to the seventeenth century -under the name of “arming-doublet,” with but little change -except in shape and form, as the style of armour required. Of -the undergarments of the early fifteenth century we have little -or nothing to guide us, and we are often at a loss to know even -what armour was worn under the tight-fitting, small-waisted jupon -or surcoat which distinguishes the end of the fourteenth and the -beginning of the fifteenth century. We have, however, a valuable -record under this head in the monument at Ash, which shows -“splinted armour” of lames worn instead of a cuirass. - -The illustration on Plate IV is from a wood-carving in the church -of S. William, Strasburg. It represents the travelling armourer -riveting what appear to be bands of iron on arms and legs. Whether -these are some contrivance used in arming in the fifteenth century, -or whether they are some instrument of torture used upon the -saint, Duke William of Acquitaine, it is impossible to discover, as -no other instances of the kind can be found. - -For full details of the equipment of the latter half of the -fifteenth century we cannot do better than refer to the Hastings -MS. of the fifteenth century, which has been discussed by the late -Albert Way,[123] and more fully by Viscount Dillon.[124] Under the -heading of “The Abilment for the Justes of Pees” we find much that -is of value in this respect. On page 122_b_ of the manuscript we -find the following minute directions for dressing a man for the -joust, which should be compared with those given in Appendix C, -page 173. - - How a man schall be armyd at his ese when he schal fighte on - foote: - - He schal have noo schirte up on him but a dowbelet of ffustean - lyned with satene cutte full of hoolis. the dowbelet must be - strongeli boude there the pointis muste be sette aboute the greet - [bend] of the arm. and the b ste [_sic_] before and behynde and - the gussetis of mayle muste be sowid un to the dowbelet in the - bought of the arme. and undir the arme the armynge poyntis muste - ba made of fyne twyne suche as men make stryngys for crossebowes - and they muste be trussid small and poyntid as poyntis. Also - they muste be wexid with cordeweneris coode. and than they will - neyther recche nor breke Also a payr hosyn of stamyn sengill - and a payre of shorte bulwerkis of thynne blanket to put aboute - his kneys for chawfynge of his lighernes Also a payre of shone - of thikke Cordwene and they muste be frette with smal whipcorde - thre knottis up on a corde and thre cordis muste be faste swoid - on to the hele of the shoo and fyne cordis in the mydill of the - soole of the same shoo and that ther be betwene the frettis of - the hele and the frettis of the mydill of the shoo the space of - three fvngris. - - To arme a man - - ffirste ye muste sette on Sabatones and tye them up on the shoo - with smale poyntes that wol breke And then griffus [greaves] & - then quisses & [=he] the breeche of mayle And [=the] tonletis - And the brest And [=he] vambras And [=he] rerebras And then - glovys And then hange his daggere upon his right side And then - his shorte swered upon the lyfte side in a rounde rynge all nakid - to pull it oute lightlie. And then putte his cote upon his back - And then his basinet pynid up on two greet staplis before the - breste with a dowbill bokill behynde up on the bak for to make - the bassinet sitte juste. And then his long swerde in his hande. - And then his pensil in his hande peyntid of seynt George or of - oure lady to blesse him with as he goeth towards the felde and in - the felde. - -[Illustration: FIG. 54. Arming-points (from the portrait of a -Navigator, Ashmolean Mus., Oxford). - -FIG. 55. Attachment of brassard by points (from the portrait of the -Duc de Nevers, Hampton Court).] - -From the above extract it will be seen that the undergarments -consisted of a thick doublet lined with silk, but with no shirt -underneath; the reason for this being one that we at the present -day can well appreciate, for when the body is hot from exertion and -exercise a shirt is apt to “ruck up,” and it would be impossible to -readjust it when fully armed. In the _Paston Letters_ we have the -following request from Edward IV:-- - - Item I praye you to send me a newe vestmente off whyght damaske - ffor a Dekyn, whyche is among myn other geer, I will make an - armyng Doublet off it. - -[Illustration: _PLATE XXIX_ - -ARMET, MIDDLE OF XVI CENT. - -ARMET ENGRAVED AND GILT, END OF XVI CENT. - -HELM OF SIR RICHARD PEMBRIDGE, CIRC. 1360 - -PARADE CASQUE, AFTER NEGROLI, MIDDLE OF XVI CENT. - -SALLAD BY ONE OF THE NEGROLIS, END OF XV CENT.] - -[Illustration: FIG. 56. Moton attached by points (from Harl. MS. -4826).] - -The gussets and, in the sixteenth century, the sleeves of mail -protected the bend of the arm and armpit, and sometimes the bend -of the knee, which were not adequately covered with plate. The two -portraits of unknown noblemen by Moroni (National Gallery) show -these details of the equipment very clearly (Plate XVIII). The -arming-points or “tresses” were used in civilian as well as in -military attire and joined the hose to the doublet, laced sleeves, -and held coats together, much as laces are used in ladies’ dresses -at the present day (Figs. 54-57). They are also shown tying up the -hose on Fig. 52 and the brayette on Plate VIII. - -[Illustration: FIG. 57. Arming-points on the foot (from the picture -of S. Demetrius, by Ortolano, Nat. Gall.).] - -Lord Dillon explains the hose of “stamyn sengill” as being a -worsted cloth made in Norfolk. The “bulwerkis” were pads of -blanketing fastened over the hose at the knees to prevent the -chafing of the knee-cop, and the shoes were of Cordova leather -fastened with laces. A complete underdress of this kind, with -quilted doublet and hose with gussets of mail at the knees, is to -be found in the Museum at Munich. The arming of a man began at the -feet, and as far as was possible each piece put on overlapped that -beneath it, to ensure that glancing surface upon the utility of -which such stress has been laid in the first chapter of this book. - -The arming of a man, therefore, was carried out in the following -order and his equipment put on in the following order: Sollerets or -sabatons, jambs, knee-cops, cuisses, skirt of mail, gorget, breast -and back plates, brassards with elbow-cops, pauldrons, gauntlets, -sword-belt, and helmet (Fig. 58). - -The “tonlet” would appear to be a bell-shaped skirt of plate -or deep taces such as is shown on Plate XXI, and is another -example of the use of the “glancing surface,” especially in -combats with axe and sword at barriers, for in these jousts the -legs were often unarmed and were not attacked. The rerebrace, -elbow-cop, and vambrace are usually joined by rivets in which -there is a certain amount of play. Where this was not the case, -each piece was separately strapped to the arm, as may be seen in -the brasses of Sir John de Creke, 1325 (Fig. 53), and of Sir -Hugh Hastings, 1347. When the three pieces, called collectively -the Brassard, were joined together, they were kept in place on -the arm by arming-points fastened to the “haustement” or doublet -just below the shoulder. The operation of tying on the brassard -is shown on the portrait now labelled the “Duc de Nevers” at -Hampton Court (Fig. 55). In the list of the equipment taken -by the Earl of Northumberland to France in 1513[125] we find -mention of arming-pateletts of white satin quilted, for wearing -under the armour, trussing-bolsters to wear round the waist to -keep the weight of the cuirass from the shoulders, arming-hose, -arming-doublets, arming-shoes, garters to wear under the armour, -and coffers in which to keep the armour. - -[Illustration: FIG. 58. Sixteenth-century Suit of Plate. - - ENGLISH FRENCH GERMAN ITALIAN SPANISH - 1. scull timbre scheitelstück coppo calva - 2. visor visière visier visiera vista - 3. ventail ventail schembart ventaglio ventalle - 4. bevor {bavière } kinreff baviera barbote - {mentonnière } - 5. crest crête kamm cresta cresteria - 6. plume-holder{porte-plume } pennachiera penacho - {porte-panache} - 7. nape-guard couvre-nuque nackenschirm gronda cubrenuca - 8. gorget colletin kragen goletta gorjal - 9. spring-pin piton à federzapfen - ressort - 10. neck-guard garde-collet brechränder guarda- bufeta - goletta - 11. pauldron épaulière achseln spallaccio guardabrazo - 12. rerebrace arrière-bras oberarmzeug bracciali brazali - 13. lance-rest faucre rüsthaken resta restra de - muelle - 14. rondel or } rondelle achselhöhl- {rotellino } luneta - besague } scheibe {da bracciale} - 15. breast plastron brust petto peto - 16. back dossière rücken schiena dos - 17. elbow-cop } - or coude } coudière armkasheln cubitiera codales - 18. vambrace avant-bras unterarmzeug bracciali brazali - 19. gauntlet gantelet handschuhe mittene manopla - 20. taces bracconière bauchreisen panziera faldaje - 21. loin-guard garde-reins gesassreifen falda ” - 22. fald or } {stahlmaschen-} - skirt } brayette { unterschutz } braghetta - of mail } - 23. tasset tassette beintaschen fiancale escarcela - 24. upper cuishe cuissard oberdiechlinge cosciali quijotes - 25. cuishe ” unterdiechlinge ” ” - 26. knee-cop genouillière kniebuckel ginocchielli guarda o - rodillera - 27. jamb or } jambière, beinröhen gambiera greba - greave } grève - 28. solleret or} soleret schuhe scarpe escarpe - sabbaton } - 29. fan-plate ailerons -] - -There is no mention of the pauldron in the Hastings MS., but when -this was worn it was strapped to the neck-opening of the cuirass or -hung from spring-pins which project from the shoulder-plate of the -cuirass. - -The staples mentioned in the Hastings MS. are often very elaborate -contrivances, especially in jousting-armour, and the foremost -fastening was called the “charnel.” Fig. 59 shows the methods of -attaching jousting-helms to the cuirass. No. 1 shows the adjustable -plate which fixes the front of the helm of the suit of Philip II -(Madrid, A, 16). A similar contrivance was used with the “Brocas” -helm (Fig. 12). No. 2 is the front of a helm (Mus. d’Art, Paris, -G, 163) in which the lower plate is bolted to the breast and -can be released from the helm by withdrawing the hinge-pin. No. -3 shows the back of the same helm. Fig. 60 is a larger sketch of -the fixing-hook of this helm. A is the back-plate of the helm, E -the pillar hinged at D and hooked into a lug on the back of the -cuirass. B is a solid block of steel of circular section pierced -with holes and connected to a screw in E. B can be turned by -inserting a pin in the holes and the screw tightened or loosened. -Minute details as to the fastenings of the helm will be found in -Appendix D, page 178. - -[Illustration: FIG. 59. Attachment of jousting-helms to the -cuirass.] - -It can therefore be easily imagined that the work of arming a man -was a serious business, and it was necessary that the armourer or -an expert assistant should be present in case some portion of the -suit or its fastenings gave way. - -[Illustration: FIG. 60. Side view of attachment on Fig. 59, 3.] - -Details of the different parts that went to make up the complete -suit, with the thickness of each plate, the laces or points, and -various fastenings and methods of attachment, will be found in the -fifteenth-century Treatise on Military Costume of which a portion -is given in Appendix D. - -The Marquis de Belleval published an interesting monograph on this -manuscript in 1866, which is now scarce and difficult to obtain. - -In the illustration on Plate XVII the squires are shown arming -their masters from horseback, which appears to involve some -gymnastic exercises. - -That such agility of the armed man was by no means an artistic -licence we may gather from the fact that Froissart[126] mentions -Sir John Assueton leaping fully armed behind his page on to his -war-horse. Again, Shakespeare makes Henry V (Act V, Sc. 2) say, “If -I could win a lady at leapfrog or by vaulting into my saddle with -my armour on my back,” and Oliver de la Marche states that Galliot -de Balthasin in 1446 leaped fully armed out of the saddle as though -he had on a pourpoint only. That this was no mere figure of speech -we may judge from a little book entitled _The Vaulting Master_, -written by W. Stokes, an Oxford riding-master, in 1641. - -[Illustration: _PLATE XXX_ - -ARMOUR OF THE MIDDLE XV CENT. - -ARMOUR OF FRIEDRICH DES SIEGREICHEN, BY TOMASO DA MISSAGLIA, 1460] - -[Illustration: FIG. 61. Armourer in the lists (Heralds’ Coll., MS. -M, 6, f. 56).] - -In the preface he writes: “In war the nimble avoydance of a man’s -horse if wounded or killed under him, and in like manner the ready -ascent into his enemies saddle if it be his hap to unhorse him, and -much more which the experienced souldier shall find.” - -There is an engraving on Plate I of the work showing a cuirassier -in half-armour about to vault into the saddle without stirrups. -Stokes occasionally breaks out into verse as follows:-- - - Here’s that will make a stubborne armour weare - Gentle as Persian silks and light as air, - -which refers to the ease of mounting which his prescribed exercises -ensured. - -On the subject of the wearing of armour we have much valuable -information from the works of the great military reformer of -the sixteenth century, Sir John Smith, who, as has been stated -previously, suffered imprisonment for his opinions. In his -_Instructions and Observations and Orders Militarie_, 1591-5, he -writes:-- - - Page 183. “No man can be conveniently armed unlesse he be first - fitly apparelled.” He states that at Tilbury he saw “but very few - of that army that had any convenience of apparel and chieflie of - doublets to arme upon, whereof it came to passe that the most of - them did weare their armors verie uncomelie and uneasilie.... But - because the collars of their armours doe beare the chief waight - of all the rest of the armour, I would wish that the souldiers - ... should have under Collars of Fustian convenientlie bombasted - to defende the heveth weight, and poise of their armours from the - paining or hurting of their shouldiers.” - - On page 193 he writes: “Also I would have them to have pouldrons - of a good compasse and size, and vambraces both joined together, - and not asunder, because that the poise of the pouldrons and - vambraces, hanging upon the pinnes and springes of their collars, - they doe not weigh so much, nor are not so wearisome as when they - are separated; and that they weare their vambraces tied with - points to their doublets under their pouldrons.” Here the author, - who was pre-eminently a practical soldier, saw the discomfort - and inconvenience caused by the drag of the arming-point on the - sleeve and wisely considered that the whole arm-defence should - hang from a pin or strap from the gorget or cuirass, so that the - weight might be on the shoulders and not on the arms. - -The armour for the joust in the sixteenth and seventeenth centuries -was far too heavy to allow of such vagaries. Pluvinel in his -_Maneige Royale_, 1625, gives an imaginary conversation between -himself and the King which bears upon the subject:-- - - The King. - - It seems to me that such a man would have difficulty in getting - on his horse and being on to help himself. - - Pluvinel. - - It would be very difficult, but with this armament the case has - been provided for. In this way, at triumphs and tourneys where - lances are broken, there must be at the two ends of the lists a - small scaffold the height of the stirrup, on which two or three - persons can stand; that is to say, the rider, an armourer to - arm him, and one other to help him, as it is necessary in these - dangerous encounters that an armourer should always be at hand - and that all should be ready. Then the rider being armed, and the - horse brought near to the stand, he easily mounts him ... for - this reason the horses must be steady. - -A little pen-drawing of the sixteenth century in a manuscript -dealing with jousts (Heralds’ Coll., M, 6, 56) shows the armourer -on one of these scaffolds at the end of the lists (Fig. 61). - -In the chapter on the Proving of Armour the question of disuse on -account of weight was considered. From the sixteenth century and -even earlier we have records of the discarding of armour because -it hampered the wearer or for some equally cogent reason. The -following extracts bear upon the subject:-- - - 1383. _Chroniques de Dugesclin_, line 5973 (edit. 1839). - - Leurs cuissieres osterent tres tous communement - Par coi aler peussent trop plus legierement. - -This refers to the action of Sir Hugh Calverly at the battle of -Mont Auray, who ordered his men to take off their cuisses in order -to move more easily. - - 1590. _Discourses_, p. 4, Sir John Smith. - - But that which is more strange, these our such new fantasied men - of warre doe despise and scorne our auncient arming of ourselves - both on horseback and on foote saying that wee armed ourselves in - times past with too much armour, or peces of yron as they terme - it. And therefore their footmen piquers they doo allow for verie - well armed when they weare their burganets, their collars, their - cuirasses, and their backs, without either pouldrons, vambraces, - gauntlets or tasses. - -Sir John Smith goes on to say that it was the discarding of his -cuisses that cost Sir Philip Sidney his life, for he received a -wound from a spent bullet which his armour might have deflected. - - 1619. _The Art of Warre_, Edward Davies. - - [the arquebusiers were loaded] with a heavie shirt of male and a - burganet, by the time they have marched in the heat of summer or - deepe of winter ten or twelve English miles they are more apt to - rest than readie to fight. - - 1625. _Souldiers’ Accidence_, Markham. - - As for the pouldron or the vant-brace they must be spared because - they are but cumbersome. - -Against these extracts we must place the opinions of military -leaders who deplored the disuse of armour:-- - - 1632. _Militarie Instructions for the Cavallrie_, Cruso. - - Captain Bingham in his Low Countrie exercise appointeth him [the - harquebusier] a cuirass pistoll proofe which condemneth the late - practice of our trained Harquebusiers to be erroneous which have - wholly left off their arms and think themselves safe enough in a - calf’s skin coat. - - 1756. _Rêveries_, Marshal Maurice of Saxe, p. 56. - - Je ne sais pourquoi on a quitte les Armures, car rien n’est si - beau ni si avantageux. L’on dira peut-etre que c’est l’usage de - la poudre qui les a abolis; mais point du tout car du tems de - Henri IV. et depuis jusq’en l’annee 1667 on en a porter, et il y - avoit deja bien longtems que la poudre etoit en usage: mais vous - verrez que c’est la chere commodite qui les a fait quitter. - -Marshal Saxe further suggests that the large proportion of wounds -are received from sword, lance, or spent bullet, and that all these -might be guarded against by wearing armour or a buff coat of his -own invention which when reinforced with steel plates weighed 30 lb. - - -THE WEIGHT OF ARMOUR - -We have but few records in contemporary documents of the actual -weight of the different parts of the suit of armour, but we can -obtain these from examples of the sixteenth century onwards from -specimens in the different museums and collections. - -That armour had become burdensome in the extreme owing to the -necessity of subjecting it to pistol and musket proof we know from -various writers on the subject. - -La Noue in his _Discours Politiques et Militaires_, translated by -“E. A.” 1587, writes on page 185: “For where they had some reason -in respect of the violence of harquebuzes and dagges [muskets and -pistols] to make their armor thicker and of better proofe than -before, they have now so farre exceeded, that most of th[=e] have -laden themselves with stithies [anvils] in view of clothing their -bodies with armour ... neither was their armour so heavie but that -they might wel bear it 24 hours, where those that are now worne -are so waightie that the peiz [weight] of them will benumme a -Gentleman’s shoulders of 35 yeres of age.” - -[Illustration: _PLATE XXXI_ - -PORTRAIT MEDAL OF COLOMAN, COLMAN, 1470-1532 - -DESIGNS FOR ARMOUR BY ALBERT DURER, 1517] - -On page 196 of Sir John Smith’s _Instructions, Observations, and -Orders Militarie_, the author strongly objects to the discarding of -the arm and leg defences which was advised by other authorities. He -insists that these limbs are as important as the “breste, belly, -and backe,” and should be adequately protected. His opinions are -also held by Marshal Maurice of Saxe in his _Rêveries_, quoted -above. - -Edward Ludlow, at the battle of Edgehill, 1642,[127] was dismounted -in getting through a hedge, and says: “I could not without -great difficulty recover on horse-back again being loaded with -cuirassiers arms as the rest of the guard were also.” - -It would be superfluous to mention the different occasions on -which unhorsed knights were captured or killed through their -inability to remount in battle. Froissart in describing the battle -of Poitiers says that when once dismounted men could not get up -again, and other historians bear equal witness of the disadvantage -of armour when unmounted; and the Sieur de Gaya, who has been so -often referred to in these pages, writing in 1678, says in his -_Traité des Armes_, page 60: “Ils n’avoient trop de tort à mon avis -d’équiper ainsi leurs chevaux parce qu’un Cavalier armé n’est plus -propre à rien quand il est démonté.” - -Although this may be taken as a reason put forward by the writer -for more armour for man and horse, it shows at the same time that -the fully armed man was considered to be comparatively useless when -unhorsed, as the Spanish proverb ran: “Muerto el Cavallo, perdido -el hombre d’armas.” - -It may be somewhat of a surprise to learn that the present-day -equipment is but little lighter than that of the fifteenth century. -The Under Secretary for War, speaking in the House of Commons on -November 28th, 1911, stated that the infantry soldier marched on an -average thirty miles a day during the manœuvres, carrying 59 lb. 11 -oz. of equipment and kit. Against this we may place the weight of -some suits of foot-soldiers’ armour of the sixteenth century, which -weigh with the helmet at the outside 25 lb.; leaving therefore -a wide margin for underclothes and weapons. And this comparison -of weight carried is even more interesting when considering the -cavalry equipment, as will be seen from the annexed table on the -opposite page. - -Of course all these figures represent “dead weight”; and here -we are brought back to one of those fundamental rules of good -craftsmanship--the recognition of “Convenience in Use.” - -Even in the Golden Age of armour, the fifteenth century, the -armourer was hampered by material and by methods of construction -which even the most expert craftsman could not overcome; but when -we reach the period of decadence in the seventeenth century, the -excellence of craftsmanship had deteriorated to an alarming extent -and these difficulties were still greater. The secret therefore of -the weight-carrying powers of man and horse at the present day is -greater convenience in carrying, the scientific distribution of -weight, and a more adaptable material, which when taken together -give greater freedom and greater mobility, even though the actual -weight be the same as the equipment of steel. - -The following table gives the weights of typical suits from the -fifteenth century onwards:-- - - -ARMOUR FOR THE JOUST - - XV-XVI.--HELMS (ENGLISH). lb. oz. - - Barendyne, Great Haseley, Oxon 13 8 - Wallace Collection, No. 78 17 0 - Westminster Abbey 17 12 - Brocas, Rotunda, Woolwich 17 12 - Dawtrey, Petworth, Sussex 21 8 - Captain Lindsay, Sutton Courtenay, Berks 24 14 - 1518. Madrid, A, 37 41 9 - - SUITS. - 1520. Tower, II, 28, for fighting on foot 93 0 - 1530 (_circ._). Madrid, A, 26 { man 79 0 - { horse 79 0 - 1590. Tower, II, 9, man 103 0 - - - WAR HARNESS - - 1439. Musée d’Artillerie, Paris, G, 1, man and horse 163 0 - 1514. Tower, II, 5 { man 64 13 - { horse 69 3 - 1588. Musée d’Artillerie, G, 80, man 92 6 - 1590. Tower, II, 10 79 0 - 1590. Tower, II, 12 55 8 - 1612. Tower, II, 18 77 14 - - - CAVALRY - - 1450 1875 1909 - +--------------------------------------+---------+---------+----------+ - |G, 1, Musée d’Artillerie, Paris. | | | | - | _Man, about 140 lb._ } | | | | - | _Armour for man and horse, } | | | | - | 163 lb._[128] } | 333 lb. | | | - | _Arms, clothes, saddlery, etc., } | | | | - | about 30 lb._ } | | | | - +======================================+ | | | - |British Household Cavalry | | 308 lb. |} | - | ” Heavy ” | | 280 lb. |} | - | ” Medium ” | | 266 lb. |} 246 lb. | - | ” Light ” | | 259 lb. |} [130] | - | | | [129] | | - |German Cuirassier | | | 334 lb. | - | _All the above are Service equipment,| | | | - | including rider and saddlery._ | | | | - +--------------------------------------+---------+---------+----------+ - - - INFANTRY - - 1550 1875 1911 - +----------------------------------------+-------+-------+-------------+ - |106-8, Rotunda, Woolwich, Maltese Suits.| | | | - | _Half-armour and helmet, 25 lb._ } | | | | - | _Clothes and arms, about 15 lb._ } | 40 lb.| | | - +========================================+ | | | - |British Infantry. | | | | - | _Service equipment, including arms_ | | 52 lb.|59 lb. 11 oz.| - | | | [129]| [131] | - +----------------------------------------+-------+-------+-------------+ - - -FOOTNOTES: - -[120] _Arch. Journ._, LX. - -[121] _Archives de Bruxelles_, Cat. Mus. Porte de Hal, 1885. - -[122] _Jahrbuch des Kunsthist. Sammlungen_, II, 1032. - -[123] _Arch. Journ._, IV. - -[124] _Archæologia_, LVII. - -[125] _Antiquarian Repertory_, IV. - -[126] Johnes’ edition, I, 449. - -[127] _Ludlow’s Memoirs_, Firth, I, 44. - -[128] Catalogue of the Museum. - -[129] Sir G. P. Colley, K.S.I., _Encyc. Brit._, 1875. - -[130] Col. F. N. Maude, _Encyc. Brit._, 1910. - -[131] _Morning Post_, December 9, 1911. - - - - -THE ARMOURERS’ COMPANY OF THE CITY OF LONDON, ARMOURERS’ HALL, -COLEMAN STREET, E.C. - - -At the present day this Company is combined with that of the -Braziers, but this combination only dates from the beginning -of the eighteenth century, when it had ceased to deal with the -making of armour and was more concerned with other branches of the -craft of the metal-worker. The objects of the craft-gild of the -armourers were the same as all those of like nature in the Middle -Ages. Members were protected from outside piracy of methods and -trade-marks, they were cared for in body when ill or incapable of -working, and in soul by masses and religious exercises. - -[Illustration: FIG. 62. Arms of the Armourers’ Company of London.] - -An important detail in the organization of these craft-gilds and -one sadly lacking in modern trade combinations was the examination -and approval of the members’ work by the gild-masters. In this way -was the craftsman encouraged to produce good work, and also the -purchaser was protected against inferior workmanship. A reference -to the Appendices B, K will exemplify this, for in these two -instances alone we find that careless work is condemned by the -Company. In the document of the reign of Edward II it is noted that -“old bascute broken and false now newly covered by men that nothing -understood of ye mystery wh. be put in pryvie places and borne out -into ye contrye out of ye said Citye to sell and in ye same citie -of wh. men may not gaine knowledge whether they be good or ill of -ye wh. thinge greate yill might fall to ye king and his people.” - -Again, under Charles I, in the appeal of the Company to the Crown, -leave to use the mark is requested “because divers cutlers, -smythes, tynkers & other botchers of arms by their unskillfulness -have utterly spoiled many armes, armours, &c.” - -The Company seems to have existed during the reign of Edward II, -but was not then incorporated, and with the exception of the -document transcribed in Appendix A, there is but little evidence -of their existence before the date of 31st Henry VI, in which year -a Charter of Incorporation was granted. This deals mostly with -questions relating to religious observances, the gild-chapel and -like matters. A report to the Court of Aldermen, dated 20th Eliz. -(1578), as to right of search for armour, etc., states that “the -Armourers did shewe us that in Kinge Edward the Second his time, -the Lord Maior and his bretheren did then graunte the serche unto -the Armourers.” - -As has been noticed before, the fact that armour plates were -expensive and difficult to forge will account for the scarcity of -examples of the defensive equipment up to the sixteenth century. -Either the suit was remade or, having been cast aside, it was -utilized by the common soldier as well as might be. It was only -when the age of the firearm was reached that armour was left in -its perfect state and was not improved upon. We have therefore but -little to show whether the English armourers of the fourteenth and -fifteenth centuries were more or less expert than their foreign -rivals, but, from other examples of metal-work that remain to -us, we are forced to the conclusion that the foreigner was our -superior. At the same time we find on more than one occasion -that the English armourer claims to equal his foreign rival; but -whether these claims were ever proved we are unable to decide -without actual examples of the craft work or documentary evidence. -In Appendix J is printed an appeal from Capt. John Martin in 1624 -for leave to import German “platers” to teach English armourers, -with the hope that this will establish a home trade and will stop -the import of foreign work. At the same time the very fact of this -request shows that the craft in England in the reign of James I was -not in a very flourishing condition. On the other hand, in 1590 the -Armourers of London petitioned Queen Elizabeth to purchase only -home products, because they can furnish her with “farre better -armors than that wch cometh from beyond the seas.” - -[Illustration: FIG. 63. Design on manifer of suit made for Henry, -Prince of Wales, by Pickering, _circ._ 1611. Windsor Castle. -Half-size (from a rubbing).] - -In the year 1580 the Armourers’ Company endeavoured to obtain -an Act of Parliament to protect and encourage the craft of the -Armourer, but with no result owing to the opposition of other -Companies. In the minutes of the Company detailing this effort -occurs the following passage, which is of interest as bearing upon -the skill of English workmen at that date: “It was the Master’s -chance to speak with Sir Walter’s[132] honor again, Dr. Doull, one -of the Masters of Requests, being with him, praying him to have the -Armourers’ Bill in remembrance. ‘What,’ said Mr. Doctor, ‘there is -none of your Company that can make an armor.’ ‘Yes, sir,’ said the -Master, ‘that there is verily good workmen, and skilful as needeth -to be.’ ‘Tell me not that,’ saith he, ‘for I will hould you a -hundred pounds that there is none in England that can “trampe” an -armor for “the Cappe to the Soul of the foot.”’ ‘I will lay with -your worship afore Sir Walter’s honor if you will give me leave -that we have in England that shall work with any in the world from -the toe to the crown of the head from 100 to 1000’; and then he -made as though he would have laid it. ‘No,’ saith Sir Walter, ‘ye -shall not lay, for he will win of you, for they have very good -workmen, and I know of the workmanship myself.’” - -This skill in craftsmanship was doubtless attained under the -tutelage of the Almaine armourers that have been referred to -before who were brought over by Henry VIII to Greenwich. As an -example of this we may notice the work of Pickering,[133] to whom -is attributed the suit made for Henry, Prince of Wales, now at -Windsor Castle, which bears a strong resemblance to the work of -Jacob Topf, who was Master Armourer at Greenwich in 1590 (Fig. 63). - -In 1595 a Court of the Armourers’ Company was held to examine -targets and other pieces of armour, and the decision arrived at -was that it was “not of the proportion that cometh from beyond the -seas, the Breast and Back Plates were too short and too narrow -everywhere.” Again in the year 1620 at a Court it was certified -that a Sussex smith “did alter old Armour, persuading the Countrey -that they were workmanly done, which notwithstanding were utterly -unserviceable.” This matter was reported to the Justices at -Guildford to be dealt with by them. From these entries it will be -seen that the control of the Company was very real and that in the -main the English craftsman was of not much account until he had -learned his trade from foreign experts. - -It was doubtless due to the instruction given by the foreigner -that the Company possessed skilled hammermen. Under Elizabeth in -1560 these hammermen were employed to assist in the process of -coin-striking and were sent, two to the Clothworkers’ Hall, two -to the Sessions Hall, Southwark, and two to the Merchant Taylors’ -Hall, to strike and stamp “with portcullis and greyhound the -several pieces of money called ‘Testons,’ there to continue until -the end of fourteen days from the date of precept.”[134] - -Many of the foreign immigrants took out letters of naturalization -and became members of the Company, but none of these seem to have -been craftsmen of note, for the expert workmen were generally -recalled to the German Court after some time, where there was a -wider scope and, possibly, higher remuneration for their services. - -The Company, like other Corporations, suffered severely during the -Reformation. Religious observances were so much a part of the gild -life that the members soon fell under suspicion, as practising -superstitious rites. Heavy fines were enacted, and it was only -by the generosity of John Richmond, a member of the Company, who -bought part of the corporate property of the Farringdon estate for -£120 and left it back to the Company in his will, that the fine was -paid. - -Informers, of whom Tipper and Dawe were the chief, levied blackmail -on the Company up to the end of the reign of Elizabeth, and -continued to suggest that superstitious practices were indulged in -till their demands were met at heavy expense. - -The Armourers had, in 1515, absorbed the whole craft of the -Blade-smiths, which seems to have caused much friction with -the Cutlers. The books of the Company are full of appeals and -negotiations before the Court of Aldermen on the question of search -for unlicensed craftsmen and faulty goods, which was one of the -important duties of the Company. These were finally arranged by -a joint search being made by the two Companies. The Company was -from the beginning dedicated to S. George, who was the patron -of armourers all over Europe. His statue by Donatello, formerly -outside the gild-church of Or San Michele in Florence, is well known. -The figure of S. George appears on the charter granted by Henry VI -in 1453, and also upon the matrix of a seal of about the same date. -The registered mark of the Company was “A,” surmounted by a crown, -and this was ordered to be stamped upon all weapons, armours, and -guns supplied by the Company when tested and approved. - -There are many interesting details dealing with the apprentices -of the Company which, although they do not bear directly upon the -craft of the armourer, are nevertheless worth recording as typical -of the craft laws and regulations as practised in England. - -In most craft-gilds it was considered sufficient for an apprentice -to serve for seven years before he was free of the gild; but in -the Armourers’ Company we frequently find entries of apprentice -bonds for nine years, and in some instances ten and fourteen. -There are records of misbehaviour of one of the apprentices, who -is ordered “honest correction as that a Servant shall be used.” -This correction was sometimes administered in the Hall before the -Gild-Court, and is described as being “indifferently well” carried -out. The case of the Sussex smith who produced unworkmanly armour -has been referred to above. In a letter from the Lord Mayor in -1560 we read that the apprentices are not to use “swearing and -blaspheming, haunting evil women or Schools of Fence, Dancing, -Carding, Dicing, Bowling, Tennis play, using of Ruffs in their -shirts, Tavern haunting or Banqueting, and if any shall be found -faulty the same be forwith punished by whipping openly in your Hall -in the sight of other Apprentices, and ye shall give in charge -that the said Masters shall not permit nor suffer any of their -Apprentices to wear in their hosen any cloth of other colours than -are here expressed, that is to say, White, Russet, Blue, Watchet, -and the said Hosen to be made without great Breeches in most plain -manner without stitching of Silk or any mannar of Cuts.” - -The most valuable of the possessions of the Armourers’ Company from -the technical point of view is the suit of armour made by Jacobe, -who is now considered to be the same as Jacob Topf, an Innsbruck -craftsman who was Master Armourer at Greenwich in 1590. The design -for this suit appears in the _Almain Armourer’s Album_, which -is noticed under the heading of German Armourers. There is also -a “locking-gauntlet,” which is sometimes erroneously called the -“forbidden gauntlet,” by the same craftsman (Fig. 32). - -The Company at one time possessed a model suit of armour made -in 1567 by John Kelk, a naturalized German member, which, when -completed, was brought into the Hall with much ceremony and laid -upon the high table. It was intended to be a pattern of the armour -made by the Company. There are various entries in the Company’s -Records of payments for repairing and keeping up this “Mannakine,” -as it was called. It has since disappeared; but Hewitt, the noted -authority on medieval armour, seemed to think that it was in the -Tower in 1855 (II, 52). - - -FOOTNOTES: - -[132] Sir Walter Mildmay, Chancellor of the Exchequer. - -[133] William Pickering was Master of the Company 1608-9. - -[134] In September, 1575, “Hopkins, a maker of coining irons in the -Mint, has also been making calivers and great iron pieces.”--State -Papers, _sub ann._ - - - - -LISTS OF EUROPEAN ARMOURERS - - -The following short notices give what details are known of some of -the more important armourers. In many instances they are only known -by their works, and no details are forthcoming about their private -or professional lives. The dates given are those of the earliest -and latest mention of the individual in contemporary chronicles. - - -ENGLAND - -(K.A., Q.A. = KING’S OR QUEEN’S ARMOURER) - - Albert, Hans. 1515. - - Ashton, John. 1633. K.A. and Armourers’ Co. - - Aynesley, Edward. 1633. K.A. and Armourers’ Co. - - Baker, Thomas.[135] 1547. Armourers’ Co. - - Basyn, John. 1524-44. (Naturalized Norman.) - - Bawdesonne, Alen. 1547. King’s Armourer, Westminster. - - Blewbery, John. 1511-16. (Yeoman of the Armoury at Greenwich, 1515.) - - Boreman, W., also called Alias Hynde. 1599-1609. (Appointed - armourer at Greenwich, 1599. Will dated 1645.) - - Brande, Rauffe.[136] 1520. - - Baltesar Bullato. 1532. Milanese, King’s Armourer. - - Carter, William. 1534. Ludlow. - - Clere, Hans. 1530. K.A., Greenwich. - - Clynkerdager, Hans. 1542-4. K.A., Greenwich. - - Clynkerdager, John. 1525. - - Copeland. 1529. London. - - Cooper, John. 1627-9. Keeper of the King’s Brigandines. - - Cowper, Thomas. 1559. K.A., Greenwich. - - Coxe, Wm. 1633. K.A. and Armourers’ Co. - - Croche, Francis. 1528-9. K.A., Greenwich. - - Crochet, John. 1515-20. K.A., Greenwich. - - Crompton, John. 1544. Southwark. - - Crouche, Wm. 1633. K.A. and Armourers’ Co. - - Cutler, Richard.[137] 1520. - - Dael, Thomas. 1515. K.A., Greenwich. - - Daniele, Edmond.[138] 1547. - - Daniele, John.[138] 1547. - - Darwin, William. 1613. Yeoman of the Armoury at Greenwich. - - Dawson. 1515. K.A., Greenwich. - - Dedikes, Dirike. 1530. Yeoman of the Armoury at Greenwich. - - Dericke or Diricke, Mathew. 1559-74. K.A., Greenwich. - - Dericke or Diricke, Robert. 1524. - - Diconson, John. 1528. K.A., Greenwich. - - Faulkenor, Roger.[139] 1625-31. - - Fevers, Peter. 1512-18. K.A., Greenwich. - - Foster, Rowland. 1633. K.A. and Armourers’ Co. - - Franklin, John. 1633. K.A. and Armourers’ Co. - - Fuller, James. 1559. Yeoman of the Armoury, Greenwich. - - Garret, John. 1559-1601 (date of will). Q.A., Greenwich. - - Gurre, Wm. 1511-38. Brigandarius. - - Halder, Jacob. 1574. Q.A., Greenwich. - - Halore (?), Jacob. 1559. Q.A., Greenwich. (Possibly the same as - Halder.) - - Harford, Richard. 1590. London. - - Herste, Martyn. 1574. Q.A., Greenwich. - - Hill, Johan. 1434. Armourer to Henry VI. See page 173. - - Horne, Geofrey. 1516-18. - - Hotton, Richard. 1592. - - Hunter, Hans.[138] 1547. Westminster. - - Jacobi or Jacobe.[140] 1530-90. Master Armourer, Greenwich. - - Kelte, John. 1559-74. Q.A., Greenwich. - - Kemp, Jasper. 1544. K.A., Greenwich. - - Keymer, Roger. 1571. Q.A., Greenwich. - - Kirke, John. 1577. Master Armourer at Greenwich. - - Kirkener, Erasmus or Asamus. 1519-93. Brigandarius, 1538; Chief - Armourer, 1544. - - Kornelys. 1515. K.A., Greenwich. - - Lasy, John. 1533. Nottingham. - - Lincoln, Thomas. 1604-8. Yeoman of the Armoury at Greenwich. - - Mare de la, Will. K.A., 1672. - - Marshall, Nicholas. 1533. K.A. and Armourers’ Co. - - Martyn, “Old.” 1544. K.A., Greenwich. - - Mightner, Hans. 1559-74. Q.A., Greenwich. - - Oliver, Jermyn. 1514-44. (Naturalized Norman.) - - Pellande, Richard. 1520. - - Pellysonne, Frances. 1524-44. (Naturalized “from the domains of - the Emperor.”) - - Pickering, William. 1591-1630. Master Armourer at Greenwich, 1604-14. - - Pipe, Nighel. 1559. Q.A., Greenwich. - - Pitwell, Giles. 1516-44. (Naturalized Gascon.) - - Polston, John. 1552. K.A., Greenwich. - - Pounde, John de. 1520. - - Poyes, Francis. 1525-44. (Naturalized Norman.) - - Purday, John. 1562. - - Sewell, John. 1590-1. - - Sherman, Nicolas. 1629. Chief Armourer at Greenwich. - - Spirarde, Carries or Tarys. 1574. Q.A., Greenwich. - - Spyltherup or Speldrup, Francis.[141] 1532. - - Stephens, Thos. 1626. K.A. and Armourers’ Co. - - Stile, John.[142] 1524. K.A., Greenwich. - - Stone, Benjamin. 1636. Sword-smith, Hounslow. - - Ureland, Peter van. 1515. Gilder and Graver, Greenwich. - - Watt Copyn Jacob de. 1512-26. K.A., Greenwich. - - Whetstone. 1628. - - White, Thomas. 1416. Master Armourer. - - Wolf, John. 1538-42. K.A., Greenwich. - - Wollwarde, Thomas. 1530-41. K.A., Greenwich. - - Woode, Richard. 1590. London. - - -GERMAN ARMOURERS - - Aldegraver, Heinrich. 1502-58. - - Brabenter, Wilhelm, Solingen. Sixteenth century. - - Colman, Coloman. 1470-1532. Augsburg. Mark No. 40. See page 133. - - Colman (Helmschmied), Desiderius. 1552. Mark No. 40. See page 134. - - Colman (Helmschmied), Lorenz. 1490-1516. Mark Nos. 2, 23, 41. See - page 133. - - Frauenpreis, Matthaias. 1549. Mark No. 38. See page 135. - - Frauenpreis, Matthaias, the younger. See page 135. - - Grofsschedl, Franz. Landshut. 1568. Mark No. 39. - - Grünewalt, Hans. Nuremberg. 1503. Mark No. 54. See page 135. - - Hopfer, Daniel. 1566. See page 136. - - Jövingk, Jakob. Dresden. 1650-9. - - Knopf, Heinrich. 1604. - - Lochner, Conrad. Nuremberg. 1567. Mark No. 46. See page 136. - - Obresch, Heinrich. Grätz. 1590. Mark No. 47. - - Peffenhauser, Anton. Augsburg. 1566-94. Mark No. 48. - - Ringler, Hans. Nuremberg. 1560. Mark No. 49. - - Rockenberger or Rosenberger, Hans. 1543-70. Dresden. - - Rockenburger, Sigmund. 1554-72. Mark No. 79. - - Rotschmied. Nuremberg. 1597. Mark No. 6. - - Seusenhofer, Conrad. Innsbruck. 1502-18. Mark No. 7. See page 141. - - Seusenhofer, Jorg. Innsbruck. 1558. Mark No. 8. See page 141. - - Seusenhofer, Wilhelm. Augsburg. 1547. - - Siebenburger, Valentine. Nuremberg. 1547. Mark Nos. 20, 74. - - Sigman, George. 1560. Mark No. 76. - - Speyer, Peter. Dresden. 1560. Mark No. 60. - - Speyer, Wolf. Dresden. 1580. - - Topf, Jacob. Innsbruck. 1530-90. See page 143. - - Treytz, Adrian. Innsbruck. 1469-1517. Mark No. 15. - - Veit. Nuremberg. Sixteenth century. Mark No. 16. - - Wolf, Sigismond. Landshut. 1554. - - Worms, Wilhelm (father and son). Nuremberg. 1539. Mark No. 17. - - -FRANCE - - Petit, M. Seventeenth century. Mark No. 83. - - -NETHERLANDS - - Merate, Gabriel and Francesco. Arbois. 1495. Mark Nos. 18, 51, 53. - See page 136. - - Voys, Jacques. Brussels. Fifteenth to sixteenth century. Mark No. 56. - - -ITALY - - Campi, Bartolomeo. Milan. 1573. See page 132. - - Camelio, Victor. Brescia. 1500. See page 131. - - Cantoni, Bernardino. Milan. 1500. See page 133. - - Chiesa, Pompeo della. Milan. 1590. - - Missaglia, Antonio. 1492. Mark Nos. 24, 25, 26. See page 138. - - Missaglia, Petrajolo. Milan. 1390. Mark Nos. 27, 78. - - Missaglia, Tomaso. Milan. 1468. Mark Nos. 27, 78. See page 137. - - Mola, Gesparo. Rome. 1640. See page 139. - - Negroli, Philip and Jacopo. Milan. 1530-90. Mark Nos. 42, 43, 44. - See page 140. - - Piccinino, Lucio. Milan. 1550-70. See page 140. - - -FOOTNOTES: - -[135] At funeral of Henry VIII. - -[136] Sent to Flanders in this year to provide armour, etc., for -the Field of the Cloth of Gold. - -[137] Sent to Flanders in this year to provide armour, etc., for -the Field of the Cloth of Gold. - -[138] At funeral of Henry VIII. - -[139] Made sundry petitions for inquiry as to the state of the -Armouries, S.P.D. Car. I, xiii, 96, etc. - -[140] Now considered to be the same as Topf. Only mention as -armourer in England, 1590. - -[141] Appropriated gold intended to gild armour, also clipped money. - -[142] Died by burning in this year. - - - - -SHORT BIOGRAPHIES OF NOTABLE ARMOURERS - - -[Sidenote: _Hans Burgmair_, Augsburg, 1473-1531.] - -This celebrated engraver was the son of Hans Burgmair or Burgkmair. -There is some confusion between the father and son, but the former -seems to have worked either as a maker or a decorator of armour. -The family were neighbours of the famous Colmans, the armourers, -who lived in the Lange Schmiede gasse, while the Burgmairs had a -house close by in Mauerburg. In 1526 Coloman Colman left his house -to live with Hans Burgmair the elder, while Hans the younger took -Colman’s house. The two families seem to have been on most intimate -terms. S. Quirin. Leitner considered that the bard of A, 149, -Madrid, which represents the labours of Hercules and Samson, was -designed by Burgmair, and Wendelin Boeheim[143] also inclined to -this view. His principal works were the Triumph of Maximilian and -the illustrations of the _Weisz Künig_, both of which show such -endless varieties of armour and weapons that we cannot but feel -that the artist must have had a very practical knowledge of the -craft of the armourer. - -It would enlarge the present work beyond its original scope if -mention were made of all the artists who designed armour and -weapons, for in all ages the painter and sculptor have been -employed in this direction. It will be sufficient to note that -designs of this nature are to be found in the sketch-books of -Donatello, Giulio Romano, Holbein, Leonardo da Vinci, Benvenuto -Cellini, and Albert Dürer. Reproductions of two drawings by the -latter are given on Plate XXXI. - - -[Sidenote: _Vittore Camelio_, Venice, _circ._ 1450-1509.] - -Camelio was born either at Venice or Vincenza. He was a fine -engraver and medallist, and is considered by Nägler to have -invented the process of striking coins and medals from steel dies. -He was especially noted for light steel armour of high temper. He -was granted a patent or concession for the sole working of his -invention by the Senate of Venice from 1509 for five years. - - -[Sidenote: _Bartolomeo Campi_, Pesaro, Venice, Paris, 1573.] - -Campi was born at Pesaro, but the exact date of his birth is -unknown. He was a goldsmith, and engraver and maker of arms and -armour of such merit that they elicited the highest praise from -Pedro Aretino in his letters from Venice to Bartolomeo Egnazio -in 1545. About this date he made a magnificent pageant suit -of pseudo-Roman armour for Guidobaldo II, Duke of Urbino, who -presented it to Charles V. The cuirass is superbly modelled on -the human torse and is decorated with a Medusa’s head and bands -of gold with silver flowers. The shoulder-pieces are of blackened -steel in the form of masks with golden eyes, and the lambrequins -hanging from the cuirass end in medallions and masks. The helmet -is decorated with a crown of golden leaves. On the cuirass is the -inscription: “BARTOLOMEVS CAMPI AVRIFEX TOTIVS OPERIS ARTIFEX QVOD -ANNO INTEGRO INDIGEBAT PRINCIPIS SVI NVTVI OBTEMPERANS GEMINATO -PERFECIT.” If this inscription is not an exaggeration, it is little -short of miraculous that this suit should have been made in one -year. It is now at Madrid (A, 188). In 1547 Campi directed the -fêtes held in honour of the marriage of Guidobaldo II and Vittoria -Farnese at Pesaro. He was military engineer to the Republic of -Siena, to that of Venice, and to the King of France between the -years 1554 and 1560. He assisted the Duc de Guise at the siege -of Calais in 1562, and in 1568 served with the Duke of Alba in -Flanders, where he was given a commission as chief engineer of -fortifications at a salary of 500 escudi. The Duke, writing to the -King on June 3, 1569, says: “I tell your Majesty that you have a -good man in Captain B. Campi, because in truth he is a soldier and -has art, although not so well founded as Pachote ... and he is the -best man I have met with since I have known men--I do not say only -engineers, but men of any sort--very happy and steady in his work.” -Campi was killed by an arquebus shot at the siege of Haarlem on -March 7th, 1573, to the great grief of the Duke and the whole army. -His brother was an armourer about 1555, but we have no records of -his work. The magnificent specimen of Bartolomeo’s work at Madrid -is the only example of his craft as an armourer that has come down -to us (Plate XIV). - - -[Sidenote: _Jacopo and Bernardino Cantoni_, Milan, 1477-1500.] - -[Illustration: FIG. 64. Cantoni’s mark on a brigandine, C, 11, -Madrid.] - -But little definite information is to be obtained respecting -the Cantoni family. They worked for Galeazzo Maria Sforza and -other princes, and are mentioned as “magistri armorum” in the -gild-records of Milan. Bernardino worked for the Emperor Maximilian -I and produced the brigandine (Madrid, C, 11) which bears his -signature (Fig. 64). This is the only work which can be directly -ascribed to this family. - - -[Sidenote: _Lorenz Colman_, Augsburg, d. 1516. Mark Nos. 23, 41.] - -This armourer is also known as Colman Helmschmied. Little is known -of his history except that one of his ancestors was living in -Augsburg in 1377. His father George was also an armourer who worked -in Augsburg in the Harbruc and in the Luginsland, craft-streets -of that city. He died in 1479. The name of his son Lorenz first -appears in the civic records in 1467, and his work must have soon -attracted attention, for in 1477 we find him making armour for -Maximilian I and obtaining the freedom of the city. In 1491 he was -created Hof Platner to the Emperor and established himself in a -house in Innsbruck. From commissions entrusted to him for buying -metal in 1498 he appears to have been still at Innsbruck, and in -1506 the records of Mantua show that he was making armour for -that court. After this he seems to have been employed entirely by -Maximilian, and in 1508 he received a large contract for armour for -his army. His work is marked with a helm surmounted by a cross, and -always bears in addition the pine, the Augsburg city stamp. Armour -from his hand is to be found at Madrid, A, 44, and Vienna, 62, -1005, 1016, 1023. - - -[Sidenote: _Coloman Colman_, Augsburg, 1476-1532. Mark No. 40.] - -Coloman was the son of Lorenz, and with the rest of his family took -the craft-name of Helmschmied, a fact which makes investigations of -records, documents, etc., of some difficulty. This is especially -the case with Coloman, whose name is spelt sometimes with a “C” -and sometimes with a “K.” The first mention of Coloman in civic -documents is in 1507. In 1512 we find him working for Charles V, -and shortly after he entered the service of Maximilian I. In 1516 a -silver suit of armour (steel plated with silver) was ordered from -him by Maximilian, but in 1519 this suit seems still to have been -unfinished, probably owing to lack of payments, a reason which was -and is always being advanced by craftsmen of all kinds for work -delayed at this period. He employed the two Burgmairs, father and -son, to decorate his armour. - -Although Charles V frequently urged him to come to Spain, his -numerous commissions at home prevented him. He seems to have -been prosperous in 1525, for he bought the “Schmied haus in the -Karoline strasse” from the widow of Thomas Burgmair. Two portrait -medals were struck for him in 1518, 1532. His clientele extended -to Italy, and in 1511 he wrote a letter to the Marchesa Francesco -di Mantua describing a project for completely arming a horse with -laminated and jointed defences of plate covering head, body, and -legs. A picture in the Zeughaus at Vienna shows Harnischmeister -Albrecht riding a horse armed in this fashion, and a portion of the -leg-piece of such a suit is preserved in the Musée Porte de Hal, -Brussels (see page 9). - -The following works bear Coloman Colman’s mark or are known from -documentary evidence to be from his hand: Vienna, 175. Wallace -Collection, 402. Madrid, A, 19; A, 37-42; A, 59; A, 93-107 (Tonlet -suit “The Chase”); A, 108-11; E, 57; E, 59. Dresden, G, 15. - - -[Sidenote: _Desiderius Colman_, Augsburg, _circ._ 1532. Marks, the -same as No. 40.] - -[Illustration: FIG. 65. Detail of Shield by Desiderius Colman -(Plate XXIV).] - -Desiderius was the son of Coloman Colman. In 1532 he took over the -workshops in the Mauerburg at Augsburg, which his father had shared -with the Burgmair family. He worked at first with the armourer -Lutzenberger, who married the stepmother of Desiderius in 1545. -In 1550 he became a member of the City Council, and in 1556 he -was made Court Armourer to Charles V. This title was afterwards -confirmed by Maximilian II. Desiderius seems to have used the same -mark as his father, hence there is some confusion between the two -craftsmen. The suits known to be by him are at Madrid, A, 157, -158, 239, 142--the splendid parade suit made for Philip II, which -is signed and dated 1550, and the richly embossed and chased round -shield A, 241, which is also signed and dated 15 April, 1552. It -is upon this shield that he recorded his rivalry with the Negrolis -(Plate XXIV, Fig. 65, also page 16). - - -[Sidenote: _Matthaias Frauenpreis_, Augsburg. Father, 1529-49. Son, -1530-1604. Mark No. 38.] - -The elder Frauenpreis or Frauenbreis was a pupil of the Colman -family (q.v.), and in 1529 married the widow of a helm-smith. He -is first heard of as an independent workman in 1530. The following -works are ascribed to him or his son:-- - - Madrid. A, 198. A brassard forming part of the suit A, 190, made - by Desiderius Colman. - - D, 68. A shield signed with his name on which the figure of - Fortuna is ascribed to Hans Burgmair. - - M, 6. A small shield marked with his stamp No. 38. - - Vienna. 950. Field suit of Archduke Maximilian. - - 397. A white and gold suit bearing the mark No. 38. - - Dresden. G, 39. A fine suit of Kurfürst Moritz, bearing the mark - No. 38. Illustrated on Plate VII. - - -[Sidenote: _Hans Grünewalt_, Nuremberg, 1440-1503. Mark No. 54.] - -His grandfather was a bell-founder of Nuremberg, who made the bells -for the church of S. Sebald in 1396. In 1465, after his father’s -death, Hans built a large house and workshop, after much litigation -with the city over his glazing or polishing mills. In 1480 he owned -many houses in Nuremberg, and built the “Pilatus” house near the -Thiergartner-Thor, close to the house of Albert Dürer. He worked -for the Emperor Maximilian I, and was the most serious rival of -the Missaglia family of Milan, who at this time were the most -celebrated armourers of Europe. The mark No. 54 is ascribed by -Boeheim to Grünewalt. Works bearing this mark are to be found in -the Waffensammlung, Vienna, 66, 995. - - -[Sidenote: _Daniel Hopfer_, Augsburg, _circ._ 1495-1566.] - -Hopfer was in the first instance a painter, a designer and maker -of stained glass, and an engraver. He settled in Augsburg in 1495. -According to Heller he died in 1549, but this is not borne out by -the entries in the account books of Maximilian II, who employed -him and his brother. In the Hofzahlantsbuch, under the date 1566, -it is stated that Daniel and his brother George, both of Augsburg, -were ordered by Maximilian II to make 110 new helmets for the -Trabantengarde and to decorate them with engraving. Four were -made in March as samples, and the remainder were to be delivered -in July at a cost of 397 gulden 42 kreutzer. Much of the work -of the brothers Hopfer consisted in decorating armour made by -other masters, of whom Coloman Colman was the chief. In Madrid -are several examples of the work of Daniel: A, 26 and 65 are -horse-armours which are decorated in Hopfer’s style, and A, 27, 57 -are jousting-shields which are certainly from his hand; the latter -is signed and dated 1536. - - -[Sidenote: _Conrad Lochner_, Nuremberg, 1510-67. Mark No. 46.] - -In 1544 Conrad, or Kuntz as he is sometimes called, was Hofplatner -to Maximilian II with a retaining fee of 14 florins 10 kronen, and -in 1547 Maximilian gave him a settled yearly pension. He must have -given up his appointment in 1551, for we find Hans Siefert Court -Armourer in this year. He was born at Nuremberg in 1510, where his -father followed the trade of an armourer, and had two brothers who -worked with him, but the names of the Lochners do not often appear -in the royal accounts. Like most of his craft, he was frequently -in money difficulties, and had great trouble in collecting his -debts from the King of Poland. His works are found at Berlin, 116, -a horse-armour; Paris, G, 166, 182, 565, 566; Madrid, A, 243; -Dresden, E, 5 and G, 165; Vienna, 334. He frequently used tritons -and sea-monsters as a motif for his decorations. - - -[Sidenote: _Gabrielle and Francesco Merate_, Milan and Arbois, -_circ._ 1494-1529. Marks, possibly 18, 51, 53.] - -In 1494 the Merate brothers were sent for by Maximilian I and did -work for him personally. They also obtained a contract for three -years, for which they received 1000 francs and 1000 gulden, under -which they pledged themselves to set up a forge, workshops, and -mill at Arbois, in Burgundy. Gabrielle was also to receive 100 -francs a year and to be free of taxes, an advantage frequently -granted to master-armourers. For this he had to deliver annually -fifty suits stamped with his mark, each suit costing 40 francs, -and one hundred helmets at 10 francs each, one hundred pair of -grandgardes at 5 francs, and one hundred pair of garde-bras at 40 -francs the pair. - -The enumeration of the last two items in pairs is unusual, as they -were defences only worn on the left shoulder and arm and would not -be sold in pairs. At the same time we should remember that the -terms used for different portions of the suit are often confused, -and a word which now has a certain definite meaning in collections -was often used in a totally different sense. The Merates were -bound by this contract to work only for the Emperor. Their stamp -is generally supposed to be a crown and the word “Arbois,” but -it is uncertain as to what actual specimens now in existence are -by their hands. Possibly the “Burgundian Bard” (II, 3) in the -Tower was made by them. It bears a crescent and the letter “M,” -and is decorated with the cross ragule and the flint and steel, -the Burgundian badges which were brought to Maximilian by his -wife, Mary of Burgundy. Their names are mentioned in the list of -tax-payers in the parish of S. Maria Beltrade, the church of the -Sword-smiths’ Gild, at Milan under the date 1524-9, and they are -also mentioned in a letter from Maximilian to Ludovico il Moro in -1495 as excellent armourers. They took their name from the village -of Merate, which is near Missaglia, a township which was the -birthplace of the famous Missaglia family. - -Work stamped with the word “Arbois” and the crown is found at -Vienna, 917, 948, and the “M” with the crescent is marked on the -bard of A, 3 at Madrid, on II, 3 and II, 5, Tower of London. - - -[Sidenote: _Thomaso Missaglia_, Milan, _circ._ 1415-1468. Marks 27, -78.] - -[Illustration: FIG. 66. Capital formerly in the Via degli Spadari, -Milan.] - -The family name of Thomaso and his descendants was Negroni, as -is proved by a tombstone formerly in the church of San Satiro at -Milan on which the two names appear. They came from the township -of Missalia, near Ello, on the lake of Como. Petrajolo, the father -of Thomaso, was also an armourer, and worked about the year 1390, -but we have little knowledge of his history. The house occupied -by the Missaglias was in the Via degli Spadari, Milan, and was -decorated with the family badges and monograms (Fig. 66). It was -demolished in 1901 in the course of street improvements, but was -first carefully drawn and described by Sigs. Gelli and Morretti -in their monograph on the Milanese armourers. The heavy work of -the armourers was carried out at a mill near the Porta Romana, for -which the Missaglias paid a rent of one sallad a year to the Duke -of Milan. Thomaso da Missaglia was ennobled in 1435 by Philip Maria -Visconti and was made free of taxes in 1450. There are many records -of commissions to him and of taxes and other municipal matters -connected with the family in the Archives of Milan. He died in 1469 -and was buried in the church of S. Maria Beltrade, Milan. The only -known work by this master is No. 2 in the Vienna Collection (Plate -XXX). Baron de Cosson[144] has pointed out the strong resemblance -between this suit, the effigy of Richard Beauchamp, Earl of -Warwick, in S. Mary’s Church, Warwick, and the picture of S. George -by Mantegna in the Accademia, Venice. - - -[Sidenote: _Antonio Missaglia_, Milan, _circ._ 1430-92. Marks 24, -25, 26.] - -Antonio was the son of Thomaso Missaglia, and was one of the -foremost of the Milanese armourers. As has been noticed in the -Introduction, the style of armour which was evolved by him and his -father seems to have been adopted by German craftsmen. There are -numerous records of payments and letters connected with Antonio in -the Archives of Milan from the year 1450 onwards. He worked for -Galeazzo Maria Visconti and for Bona di Savoia and after the death -of the former became Ducal Armourer. In 1456 he made armour for the -Papal troops, and about this time he enlarged the workshops of the -family in the Via degli Spadari. In 1469 the Duke of Milan gave -him a mill near the S. Angelo Canal. In 1470 he received a lease -of iron-mines near the forest of Canzo, near the Lago del Segrino, -from the Ducal Chamber, and in 1472, in recognition of his services -to the State, he was allowed to purchase the property. - -The last entry in the Milanese Archives relating to Antonio -refers to his mines and furnaces in a letter to Bona di Savoia, -April 20th, 1480. In the MSS. Lib., Trivulziano, is a report of -the Venetian Embassy which came to Milan on its way to Germany, -written by Andrea de Francesca. This report states that Antonio’s -workshops were visited and armour was seen there to the value of -1000 ducats. He seems to have had a son Scabrino, but there are -no records of him as an armourer. Antonio died at the end of the -fifteenth century and is the last of the family who used the name -of Missaglia. His successors reverted to the family name of Negroni -or Negroli. The suit No. 3 in the Vienna Collection is stamped -with his mark (Plate II), and many helmets of the sallad type and -various pieces of armour bear a similar stamp in other armouries, -such as the Wallace Collection, the Porte de Hal, Brussels, etc. -etc. The close helmet on the “Tonlet suit” in the Tower, II, 29 -(Plate X), is engraved with the Collar of the Garter and bears the -Missaglia stamp, and a suit in the Musée d’Artillerie, G, 3, bears -the same mark. - - -[Sidenote: _Gasparo Mola_, Rome, _circ._ 1590-1640.] - -Mola is the only armourer whom we can identify as having worked in -Rome. He was born about the year 1590 at Breglio, where his father -was an architect. He came to Milan at an early age and worked there -as a goldsmith. In 1607 he made various objects in gold and silver -for the Duke of Savoy. In the same year he was summoned by Duke -Ferdinand de Medici to Florence, where he worked for two years. -In the years 1613-14 he produced medals for Mantua and Guastalla, -and about the same time he executed work for Carlo Emmanuele I of -Savoy. He committed suicide in 1640. Though we have no data for the -theory, it seems not unlikely that it was the studio of Mola which -Breughel has represented in his picture of Venus at the Forge of -Vulcan. The ruins in the background certainly suggest some of the -buildings in Rome, which might have been used for this purpose. -There are also many medals and examples of goldsmith’s work shown -on this picture in addition to the armour. - -He was an expert in enamel-work and made richly decorated pistols, -and in 1642 produced a fine helmet and shield which are now in the -Bargello Museum, Florence. - - -[Sidenote: _Philippo and Jacomo Negroli_, Milan, _circ._ 1521-80. -Marks 42, 43, 44.] - -Philippo and Jacomo Negroli were sons of Bernardino who worked in -Rome. It is uncertain whether their father still kept the name -of Missaglia, which was used by Antonio and Thomaso Negroni. The -earliest known work by these masters is dated 1532. For some -years they were assisted by their brother Francesco, who left -them about this date and worked alone for the Mantuan Court. -Brantome and Vasari both mention Philip as being a craftsman of -very high repute. His armour was always very costly, and Brantome -states that a morion made by him would cost 40 thalers and that -in sixteen years he had amassed 50,000 thalers. He seems to have -been ennobled, for Brantome calls him Seigneur de Negroli. He had -a house in the Porta Comassina, the wealthy quarter of Milan. His -work is always ornate, but does not transgress the craft-laws to -such an extent as did the armour of Peffenhauser and Piccinino -(Plate XXIX). Work by the Negrolis is to be found as follows: In -Madrid, A, 139-46; D, 13, 30, 64. Vienna, 330. Paris, G, 7, 10, 178. - - -[Sidenote: _Anton Peffenhauser_, Augsburg, 1525-1603.] - -We have no details of the life of this craftsman beyond the -dates of his birth and death. He is best known as the maker of -elaborately decorated armour. The suit made for King Sebastian -of Portugal (Madrid, A, 290) is one of the most ornate suits in -existence (Plate XIV, also p. 75). His works are found as follows: -Madrid, A, 290. Dresden, C, 10, 13, 15_a_, 20; D, 11; E, 6_a_, 10; -G, 146. Vienna, 489, 490. - - -[Sidenote: _Lucio Piccinino_, Milan, _circ._ 1590.] - -Lucio was the son of Antonio Piccinino, the famous sword-smith. It -is uncertain whether he actually produced armour himself or whether -he was solely concerned with the decoration. Like Peffenhauser he -delighted in lavish display of ornament without any consideration -to its fitness for armour. His work is extraordinarily minute and -the technical skill displayed is extreme. His work is only to be -found at Madrid, A, 291-4, and at Vienna, 543. - - -[Sidenote: _Pompeo della Chiesa_, Milan, 1590.] - -The son of a noted craftsman, Pompeo was one of the foremost -armourers in the latter years of the sixteenth century. He was -Court Armourer to Philip III of Spain, and to the Archduke of -Milan, Alessandro Farnese. His work is found in the Armeria Reale, -Turin, C, 21, 70; in Vienna, 858, 859. - - -[Sidenote: _Conrad, Hans, and Jorg Seusenhofer_, 1470-1555. Marks -7, 8.] - -The brothers Conrad and Hans at different periods filled the -position of Court Armourer to Maximilian I. Conrad was born between -the years 1450 and 1460. He was cousin to Treytz, who produced -the _Weisz Künig_, that chronicle of the doings and artistic -endeavours of the young Maximilian which, while it is amusing in -its sycophantic adulation of the Emperor is, at the same time, an -invaluable record of the operations of the applied arts of the -period and of costumes and armour then in fashion. - -[Illustration: FIG. 67. Engraving on the left cuisse of Henry -VIII’s Suit, made by Conrad Seusenhofer (Tower, II, 5).] - -In 1504 Conrad was appointed Court Armourer for a period of six -years with a further agreement for a pension of 50 fl. afterwards -for life. In the same year he received money for enlarging his -workshops, but after much correspondence it was deducted from -his salary. The young Emperor had theories about the making of -armour as he had about every other art and craft, and working in -conjunction with his armourer, and, presumably, taking credit for -his craftsman’s expert knowledge, evolved the fluted style of plate -armour which still bears his name. It was based upon Italian models -of the Gothic type which, at the end of the fifteenth century, was -distinguished by certain graceful flutings which Conrad and his -master elaborated till they covered the whole surface of the armour. - -At this time the craftsmen of Brussels were noted experts in the -tempering of steel, and both Maximilian and Henry VIII employed -ironworkers from this city in their armouries. - -Much of the raw material was drawn from Styria, and was exported -in such large quantities to England that the supply was in danger -of running short; so a monopoly was established and exportation -forbidden. This naturally raised the price, and was one of the -many causes which combined to keep up a ceaseless friction between -Maximilian, his Diet, and his armourers. - -Seusenhofer favoured elaborate ornament on his armour, and this did -not please the officials who were responsible for the equipment -of the army. He was urged to produce plainer and more serviceable -work, a suggestion which Maximilian with his love of pageantry -ignored. In 1511 we find Seusenhofer complaining that Kügler, the -mine-master, was sending him inferior metal, and as he considered -that the use of it would be detrimental to the reputation of -Innsbruck as a factory of armour, he suggested that it should be -classed as Milanese. In 1511 the famous “Engraved Suit,” now in the -Tower of London, was put in hand as a present from Maximilian to -Henry VIII. - -From the State Archives of Innsbruck (Jahrbuch II, reg. 1028) we -find that two cuirasses were ready for the King of England, one -gilded. There were apparently five others to be made, one of which -was to be silvered. This was probably the suit above mentioned. - -The whole of the suit is covered with fine engraving representing -the stories of S. George and S. Barbara, with foliage and heraldic -badges. The designs have been engraved and a detailed description -given by Sir S. Meyrick in _Archæologia_, XXII. - -The horse-armour is not by the same hand, for the engraving is -coarser. It may have been executed in England by German craftsmen -to match the rider’s armour (see Plates X, XII, Fig. 67). - -There were ceaseless troubles over the payment and delivery of work -from the royal workshop. Sometimes Seusenhofer would retain work -for which the Emperor had pressing need till payment was made, and -on one occasion, when speedy delivery was not made, Maximilian -ordered the armourers to be placed in the forefront of the battle, -with no armour on, to show them what inconvenience their delay was -causing! It is needless to say that the armour was delivered at -once. So obsessed with the idea of his omniscience was the Emperor -that when, in the _Weisz Künig_, Seusenhofer suggests some secret -method of working the metal, he replies: “Arm me according to -my own wishes, for it is I and not you who will take part in the -tournament.” Again, Maximilian writes: “If you have forgotten the -art which I have taught you let me know and I will instruct you -again.” - -The date of Conrad’s death is unknown, but it was, as far as can be -ascertained, about the year 1517. - -He was succeeded as Court Armourer by his younger brother Hans, and -he in turn gave place to his nephew Jorg, who produced the suits -which exist at the present day in Paris, G, 41, 117; Vienna, 283, -407. The only authentic work of Conrad is in the Tower of London, -II, 5. - - -[Sidenote: _Jacob Topf_, Innsbruck, 1530-90.] - -We have but little information respecting Topf, in spite of the -minute researches of the late Dr. Wendelin Boeheim. From civic -records at Innsbruck he appears to have been one of three brothers. -David, the youngest, was in service with Archduke Ferdinand at -Ambras and died in 1594. In 1575 we find Jacob working for the -Archduke at Innsbruck. Boeheim discovered in his investigations -that Topf was absent from Germany between the years 1562 and 1575 -and was probably employed in Italy, England, and elsewhere. There -are no records of his employment in England except in a letter -written by Sir Henry Lee in 1590, where mention is made of “Master -Jacobe,”[145] who is now considered to be Topf. We have, however, -a most valuable record of work which was in all probability his -in the _Almain Armourer’s Album_, now in the Art Library of the -Victoria and Albert Museum. - -This book consists of large drawings in ink and water-colour (17 -in. by 11½ in.), thirty-one in number, which show twenty-nine suits -of armour with details of extra pieces for the joust. - -On No. 14 is the signature: “These Tilte peces made by me Jacobe,” -but the name Topf does not occur in the Album. - -In the year 1790 the book was in the possession of the Duchess of -Portland, at which time Pennant engraved the second suit of Robert -Dudley, Earl of Leicester, for his _History of London_. Strutt also -engraved the suit of George, Earl of Cumberland, in his _Dresses -and Costumes_ (II, Plate CVLI). The library of the Duchess of -Portland was sold in 1799 and the Album disappeared till the year -1894, when it passed into the Spitzer Collection. At the Spitzer -sale it was bought by M. Stein, of Paris, and on the advice and -through the personal efforts of Viscount Dillon, the present -Curator of the Tower Armouries, it was acquired for the nation. - -Several of the drawings have been carefully reproduced by Mr. -Griggs in a book, edited by Viscount Dillon, under the title of _An -Almain Armourer’s Album_, and it is by the courtesy of the editor -and publisher that the accompanying illustrations are reproduced in -the present work. - -The following list gives the complete series of plates in the Album -and shows which of the suits illustrated in the original are now in -existence. - - DRAWINGS SUITS IN EXISTENCE - (None complete in all parts.) - 1. The Earle of Rutlande. - 2. The Earle of Bedforde. - 3. The Earle of Lesseter (1st suit). - 4. The Earle of Sussex The gauntlets were in the Spitzer - Collection. - 5. Duke John of ffineland Prince of - Sweden. - 6. Ser William Sentle. - 7. My Lorde Scrope. - 8. The Earle of Lesseter (2nd suit) A portion of a suit in the Tower - of London (II, 10) is of very - similar design--evidently by - the same hand. - 9. My Lord Hundson. - 10. Ser George Howarde. - 11. My Lorde Northe. - 12. The Duck of Norfocke. - 13. The Earle of Woster A portion of this suit in the - Tower (II, 9). At Windsor - Castle a burgonet, buffe, - breast, back, placcate, gorget, - bevor, taces, lance-rest, - sollerets. - 14. Ser Henry Lee (1st suit). - 15. Sur Cristofer Hattone (1st suit) Windsor Castle. The gorget is a - restoration (Plates XXV, XXVI). - 16. The Earle of Penbrouke Wilton House. - 17. Ser Cristofer Hattone (2nd suit) The suit of Prince Henry at - Windsor was copied from this - and from No.17 by W. Pickering - (see Plate XX). - 18. Ser John Smithe Tower, II, 12. This suit has - brassards which are not shown - in the sketch in the Album - (Plates XXVI, XXVIII). - 19. Sr. Henry Lee, Mr. of tharmerie Armet in the Tower (IV, 29). - (2nd suit). Locking-gauntlet in the Hall of - the Armourers’ and Braziers’ - Co., London (Plate XIII, Figs. - 32, 68). Burgonet, buffe, and - leg-armour at Stockholm. - 20. The Earle of Cumberlande Appleby Castle. - 21. Sr. Cristopher Hatton (3rd suit). - 22. Mr. Macke Williams. - 23. My L. Chancellor [Sir Thomas - Bromley]. - 24. My L. Cobbon. - 25. Sir Harry Lea Mr. of the Armore Hall of the Armourers and Braziers’ - (3rd suit). Company, London. On each side of - the breast in the band of - engraving are the initials A. V. - (Fig. 69), which probably stand - for Anne Vavasour, natural - daughter of Sir T. Vavasour and - Lady of the Bedchamber to Queen - Elizabeth. The _Nat. Dict. of - Biog._ states that she was Sir - Henry Lee’s mistress. - 26. My Lorde Cumpton Portions of this and of the next - suit were formerly at Home Lacy - and are now in the Metropolitan - Museum, New York. - 27. Mr. Skidmur [John Scudamor]. - 28. My Lorde Bucarte Wallace Collection, 435. - 29. Sr. Bale Desena. - -There is also a suit at Vienna (491), made for Archduke Carl of -Steiermark, which Boeheim considered to be from Topf’s hands. - -Fuller details of the above suits will be found in the reproduction -of the Album above referred to, and also in _Arch. Journ._, LI, 113. - -[Illustration: FIG. 68. Gauntlet and armet of Sir Henry Lee (from -the _Armourer’s Album_, Victoria and Albert Museum). See also Plate -XIII and Fig. 32.] - -[Illustration: FIG. 69. Rubbing of design on breast of Sir Henry -Lee’s suit, Armourers’ Hall, London.] - - -FOOTNOTES: - -[143] Meister der Waffenschmiedkunst. - -[144] _Arch. Jour._, XLVIII. - -[145] See page 66. - - - - -LIST OF ARMOURERS’ MARKS - - -The following have been taken from rubbings, drawings, and prints, -and the authorship of the marks is that given in the several -catalogues. The nationality of the armour is given first as German, -Italian, Spanish, or French; following this is the approximate -date; and lastly the Museums in which the mark is found with the -catalogue number. The Roman figures denote the century to which the -mark is ascribed. - - A = Athens, Ethnological Mus. - B = Brussels, Porte de Hal. - Ber = Berlin, Zeughaus. - D = Dresden, Johanneum. - G = Geneva. - L = London, Tower. - M = Madrid, Real Armeria. - N = Nuremberg. - P = Paris, Musée d’Artillerie. - S = Stockholm, Lifrustkammer. - T = Turin, Armeria Reale. - V = Vienna, Waffensammlung. - Ven = Venice, Museo civico and Arsenale. - -[Illustration: ARMOURERS’ MARKS.] - - 1. XIV. =P=, H, 23. - 2. XV. =P=, H, 27. - 3. XV. =P=, H, 41. - 4. Germ., XV. =P=, G, I. - 5. XV. =P=, H, 36. - 6. Rotschmied, Germ. 1597. =G=. - 7. Conrad Seusenhofer, Germ. 1518. =L=, II, 5. - 8. Jörg Seusenhofer, Germ. 1558. =V=, 283, 407. =P=, G, 41, 117. - 9. Valentine Siebenbürger, Germ. 1531-47. =V=, 226. - 10. Germ., XV. =P=, H, 11. - 11. Germ., XV-XVI. =P=, H, 42. - 12. It., XVI. =P=, H, 55, 305. - 13. It., XVI. =P=, H, 54. - 14. Germ., XVI. =P=, G, 23. - 15. Adrian Treytz, Germ. 1469-1517. =V=, 66, 1018. - 16. Veit, Germ., XV-XVI. =N=, =V=. - 17. Wilhelm von Worms, Germ., XVI. =V=, 226, 296. - 18. Merate brothers, It. 1495. =V=, 917. - 19. Germ., XV-XVI. =P=, G, 18. - 20. F. Siebenburger, Germ., XVI. =P=, G, 22, 568. - 21. Germ., XVI-XVII. =P=, H, 166. =D=, E, 556 (see also 97). - 22. City of Augsburg, XV-XVII _passim_. - 23. Lorenz Colman or Helmschmied, 1516. =P=, G, 536; =V=, 1005. - 24. Antonio da Missaglia, It. 1492 _passim_ (see also 36). - 25. Antonio da Missaglia. - 26. Antonio da Missaglia. - 27. Petrajolo and Tomaso da Missaglia. 1400-68. =V=, 2, 3, 897; - =P=, H, 29 (see also No. 78). - 28. Germ., XVI. =P=, H, 158. - 29. Germ., XV-XVI. =P=, G, 382. - 30. Sigismund Wolf, Germ. 1554. =P=, G, 63, 64, etc.; =M=, A, 231. - 31. It. (?), XVI. =P=, G, 36. - 32. Germ., XVI. =P=, G, 147, H, 97. - 33. It., XV. =A= (possibly a Missaglia mark, see No. 24). - 34. It., XV. =A=. - 35. It., XV. =M=, D, 14. - 36. Antonio da Missaglia, It., XV-XVI. =P=, H, 29. - 37. XVI. =P=, G, 84. - 38. Matthaias Fraüenpreis, Germ. 1549-75. =V=, 397, 950; =D=, G, 39. - 39. Franz Grofsschedl, Germ. 1568. =V=, 989; =D=, C, 1, 2. - 40. Coloman Colman or Helmschmied, Germ. 1470-1532. =V=, 175; - =D=, G, 15; =M=, A, 19, 59, 73, etc. - 41. Lorenz Colman or Helmschmied, Germ. 1516. =V=, 62 (see also - No. 23). - 42. Philipp Negroli, It. 1530-90 } =V=, 330; =M=, A, - 43. Philipp and Jacomo Negroli ” } 139-46; =D=, 13, 30, 64. - 44. Philipp and Jacomo Negroli (?). =P=, G, 7, 10, 178. - 45. City of Nuremberg, XV-XVII _passim_. - 46. Kunz or Conrad Lochner, Germ. 1567. =V=, 334; =P=, G, 182, - etc.; =M=, A, 243; =S=, 64. - 47. Heinrich Obresch, Germ. 1590. - 48. Anton Peffenhauser, Germ. 1566-95. =V=, 489; =M=, A, 290. - 49. Hans Ringter, Germ. 1560. =V=. - 50. XVI-XVII. =P=, G, 124. - 51. Possibly the Merate brothers, It. XV-XVI. =V=, 60; =L=, - VI, 28; =M=, A, 3. - 52. Germ., XVI. =V=, 9. - -[Illustration: ARMOURERS’ MARKS.] - - 53. Possibly the Merate brothers, It., XV-XVI. =V=, 948. - 54. Possibly Hans Grünewalt, Germ., XV-XVI. =V=, 66, 995. - 55. It., XV. =V=, 5. - 56. J. Voys, Netherland, XV-XVI. =B=, II, 39, 40; =M=, A, 11 - 57. XV. =M=, A, 4. - 58. XV. =M=, A, 6. - 59. On a mail skirt, XV-XVI. =T=, G, 86. - 60. Peter von Speyer, Germ., 1560. =B=er. - 61. It., XV. =G=en. - 62. It., XV. =G=en. - 63. Germ., XV-XVI. =P=, H, 76. - 64. It., XV. =G=en. - 65. Germ., XVI. =V=, 63. - 66. It., XV-XVI. =V=en. Mus. civico. - 67. It., XVI. =V=en. Arsenale. - 68. On a sallad with Missaglia mark, It., XV. =V=en. Mus. civico. - 69. Germ., XVI. =B=, II, 101. - 70. Germ., XV-XVI. =V=, 1022. - 71. Armourers’ Company, London, XVII. =L=. - 72. Germ., XV. =D=, A, 75. - 73. Netherlands, XV. =D=, A, 75. - 74. Siebenburger (?), Germ., XVI. =B=, II, 92. - 75. It., XVI. =M=, A, 147. - 76. Jorg Sigman, Germ., XVI. =M=, A, 238. - 77. It, XV. =A=. - 78. T. and P. da Missaglia, It., 1400-1468. =P=, H, 29; =V=, 2, 3; - =L=, II, 29 (see Nos. 24-7). - 79. Sigmund Rosenburger, Germ. XVI. =D=, C, 3, 4. - 80. City of Augsburg (?), XVI. =D=.[146] - 81. City of Augsburg (?), XVI. _passim_. - 82. Germ., XVI. =D=. - 83. M. Petit. Fr. XVII. =P=, H, 150; =V=, 711; =M=, A, 379. - 84. Sp., XV. =M=, D, 24. - 85. It., XV. =A=. - 86. It., XV. =A=. - 87. XVII. =M=, B, 11; =T=, C, 14. - 88. XV. =P=, H, 141. - 89. Germ., XV-XVI. =L=, II, 37. - 90. XVI. =L=, III, 186. - 91. Germ., XVI. =L=, II, 3. - 92. Sp., XV. =M=, C, 10. - 93. Sp., XV. =M=, C, 10. - 94. It., XV. =A=. - 95. XV. =M=, D, 18. - 96. Germ., XV. =B=, II, 170. - 97. Germ., XVI. =B=, II, 182; =D=, E, 556 (see also No. 21); - =S=, on a crossbow, 143. - 98. Germ., XVI. =B=, II, 30. - 99. Germ., XVI. =B=, II, 3. - 100. Possibly the city of Wittenburg, XVI. =B=, II, 4, 41. - 101. Sp., XV. =M=, C, 10. - 102. Sp., XV. =M=, C, 10. - 103. It., XV. =A=. - 104. Germ. XV. =V=. - - -FOOTNOTE: - -[146] A similar mark was used by the Armourers’ Company, London, -about 1640. - - - - -POLYGLOT GLOSSARY OF WORDS DEALING WITH ARMOUR AND WEAPONS - - -The meanings of the words in this Glossary are given either from -comparison of various scattered entries in contemporary documents -or from the following works:-- - - Boeheim. _Waffenkunde._ 1890. - Cotgrave. _Dictionarie of the French and English Tongues._ 1611. =C.= - Du Cange. _Glossaire Français._ Edit. 1879. - Florio. _A Worlde of Woordes._ 1598. =F.= - Gay. _Glossaire Archéologique_, A-G (never completed). 1887. =G.= - Harford. _English Military Discipline._ 1680. =H.= - Meyrick. _Antient Armour_ (glossary). 1842. - Roquefort. _Glossaire de la Langue Romaine._ 1808. =R.= - Valencia. _Catalogue of Real Armeria, Madrid._ - -Where no reference letter is given the meaning given is that -generally accepted at the present day. - -The names of the different parts of the suit of plate armour are -given in English; French, German, and Italian and Spanish are given -on pp. 110, 111. - - -A - - _Abzug_, Germ. the trigger of a gun. - - _Achsel_, Germ. see pauldron. - - _Achselhohlscheibe_, Germ. see rondel. - - _Achselschilde_, Germ. see ailette. - - _Acroc_, a hook or clasp. - - _Adargue_, a heart-shaped buckler, =G=. - - _Affust_, } gun-carriage. - _Afut_, } - - _Agaric_, tinder used with flint-lock gun. - - _Agier_, O.F. darts. - - _Aguinia_, machines or engines of war. - - _Aguzo_, It. the point of the spear. - - _Aiguilettes_, tags at the ends of laces for fastening the - various pieces of armour. - - _Ailettes_, wing-like pieces of plate or cuir-bouilly worn on the - shoulders. Very rare and seldom seen on monuments. XIII-XIV cent. - - _Aketon_, see gambeson. - - _Alabarda_, It. halberd. - - _Alaguès_, _Halaguès_, O.F. soldiers of fortune, free-lances, =R=. - - _Alarica_, a heavy triangular-pointed spear. - - _Alberc_, Germ. see hauberk. - - _Alberia_, a shield without armorial bearings. - - _Alborium_, a bow of hazel, XI cent. - - _Alemèle_, Fr. the lame or blade of the sword. - - _Alemella_, It. a knife or dagger, XIV cent. - - _Alfange_, Sp. cutlass. - - _Alferanna_, Sp. a banner. - - _Algier_, O.F. dart. - - _Allecret_, a variety of half-armour, end of XVI cent. - - _Almarada_, Sp. a stiletto or dagger. - - _Almayne rivet_, suit of light half-armour, XVI cent. - - _Almete_, Sp. a close, round helmet, armet. - - _Alzo_, It. the “sight” of the firearm. - - _Amadue_, Fr. see agaric. - - _Ameure_, a dagger. - - _Amorce_, priming. - - _Amorcoir_, Fr. powder-flask. - - _Amussette_, Fr. a breech-loading musket, XVIII cent. - - _Anelace_, a broad-bladed dagger, early XIV cent. - - _Angon_, a javelin used in the VI cent. The head was heavy and - the top part of the shaft thin, so that it bent on impact and thus - hampered the stricken man, =G=. - - _Animes_, a cuirass of horizontal lames, =R=. - - _Antebrachia_, see vambrace. - - _Antela_, see poitrel. - - _Antia_, the handle of a buckler. - - _Anzerdecke_, Germ. see barde. - - _Appogiar_, the cantle of the saddle. - - _Arbalest_, a crossbow. - - _Arbalest à cric_, a heavy crossbow used in sieges. - - _Arbalest à cranequin_, a crossbow drawn with a windlass. - - _Arbrier_, the tiller of a crossbow. - - _Arcabuz_, Sp. see arquebus. - - _Archet de fer_, the moulded ring on the breech of a cannon, - base-ring. - - _Archegaye_, a staff sharpened at both ends carried by estradiots, - XV cent. - - _Archibuso_, It. see arquebus. - - _Arcioni_, It. the fore and aft peaks of the saddle. - - _Arcon_, the saddle-bow. - - _Arescuel_, the grip of a lance, =R=. - - _Arest de lance_, vamplate, later the lance-rest, =G=. - - _Arganello_, It. the windlass of a crossbow. - - _Argolets_, French mounted arquebussiers, XVI-XVII cent., =R=. - - _Arma bianca_, It. } sword. - _Arme blanche_, Fr. } - - _Armacudium_, an indefinite weapon of offence. - - _Arma d’asta_, It. any long-shafted weapon. - - _Armatoste_, Sp. the windlass of a crossbow. - - _Armes à l’épreuve_, pistol-proof armour. - - _Armet_, a close helmet with bevor and movable visor. - - _Armil_, see surcoat. - - _Armin_, an ornamental hand-grip for the pike made of velvet or - leather. - - _Arming-bonett_, a padded cap worn under the helmet. - - _Arming-doublet_, worn under the armour. - - _Arming-hose_, long hose worn under leg-armour. - - _Arming-points_, laces for tying on parts of the suit of armour. - - _Arming-sword_, a short sword worn on the right side. - - _Armkachen_, Germ. elbow-cops. - - _Armoyer_, O.F. armourer, maker of sword-hilts, =R=. - - _Armröhen_, Germ. cannon of the vambrace. - - _Armrust_, Germ. crossbow. - - _Armure cannelée_, Fr. fluted armour. - - _Armzeug_, Germ. brassard. - - _Arnesi_, It. harness as used for “armour.” - - _Arquebus_, a musket of XVI cent. - - _Arrêt_, Fr. small decorated tabs used on straps for armour and - horse-furniture, =G=. - - _Arrêt de lance_, Fr. lance-rest. - - _Arrière-bras_, Fr. see rerebrace. - - _Arrière-hilt_, the counter-guard or knuckle-bow of the sword. - - _Asbergo_, a breastplate or cuirass, a vamplate, =F=. - - _Asper_, _aspar_, the “grip” of the lance. - - _Aspergès_, O.F. a mace, =R=; see holy-water sprinkle. - - _Astile_, It. the shaft of a lance. - - _Astonne_, a lance, =R=. - - _Astregal_, a moulding on a cannon. - - _Atilt_, the position in which the lance was held in charging. - - _Attry_, O.E. artillery. - - _Auber_, see alborium. - - _Ausfatz_, Germ. the “sight” of a firearm. - - _Avance_, Fr. the front peak of the burgonet. - - _Avant-bras_, see vambrace. - - _Avant plat_, see vamplate. - - _Aventail_, breathing aperture in helmet, the earliest form of visor. - - _Azza_, It. a long-shafted axe. - - _Azzimino_, It. fine inlay work on Oriental weapons, =F=. - - - B - - _Bacchetta_, It. a ramrod. - - _Back-sword_, sword with single-edged blade. - - _Bacul_, O.F. crupper of horse-trappings, =R=. - - _Bacyn_, see bascinet. - - _Badelaire_, Fr. a short cutlass. - - _Bagonet_, } a dagger fitted to the musket, _circ._ 1672. - _Bayonet_, } - - _Bagordare_, O.It. to hold a burlesque tournament. - - _Baguette_, ramrod, also brayette, q.v. - - _Bainbergs_, shin-defences of metal or cuir-bouilly. - - _Baldrick_, } an ornamented belt to carry the sword, XIV cent. - _Bawdric_, } - - _Balestra_, It. see arbalest. - - _Balloch knife_, a knife or dagger with balls instead of quillons, - XV-XVI cent. - - _Balayn_, } whalebone used for crests or the swords for tourneys. - _Balon_, } - - _Balottera_, a stone bow, =F=. - - _Banded mail_, mail formed of rings through which a leathern thong - was passed horizontally on the hauberk. - - _Bandes_, Fr. see lames. - - _Bandes de bout d’affust_, trail-plate of a cannon, =H=. - - _Bandes de dessus_, axle-tree bands, cape squares, =H=. - - _Bandolier_, musketeer’s belt to carry gun-charges in separate cases - of wood or metal. - - _Bannerets_, those knighted on the field of battle and entitled to - carry banners. - - _Banquelets_, Fr. strips of decorated metal on a sword-belt to keep - the belt rigid, =G=. - - _Barbazzale_, It. the “grummet” of a bridle. - - _Barbera_, Sp. see mentonière. - - _Barbière_, Fr. } - _Barbote_, Sp. } see bevor. - _Barbotto_, It. } - - _Barbuta_, a piece of head-armour, a bevor, =F=. - - _Barbute_, } a form of bascinet of unknown type, also - _Barbet_, } a light horseman. - - _Bardes_, } horse-armour. - _Barding_, } - - _Barde de crinière_, Fr. see crinet. - - _Bardiche_, a variety of pole-axe. - - _Barducium_, see morning star. - - _Barthaube_, Germ. chin-guard of plate. - - _Barriers_, the division of wood which separated combatants in - foot-jousts, also the jousts themselves. - - _Bascinet_, a light helmet of ovoid form tapering to a point at - the summit, worn with or without a visor, XIII-XV cent. - - _Bascuette_, O.E. see bascinet. - - _Base_, O.F. a short sword or cutlass, =R=. - - _Bases_, skirts of fabric or, in armour, of plate, XVI cent. - - _Basilard_, a curved civilian sword, XIV cent. - - _Bask sword_, a stout, single-edged blade. - - _Bassinet_, Fr. priming-pan of a firelock. - - _Bastard sword_, a long sword for cut and thrust with grip - sufficiently long for two hands, or a blunted sword for practice. - - _Baston_, a mace or club with polygonally cut head. - - _Baston, gros_, O.F. large ordnance, =R=. - - _Battecul_, see garde-rein. - - _Batticuli_, taces or loin-guards of plate, =F=. - - _Bauchreifen_, Germ. see taces. - - _Baudik_, see baldrick. - - _Baudrier_, Fr. cross-belt. - - _Bavier_, Fr. } see bevor. - _Baviera_, It. } - - _Bergaman_, O.F. a cutlass or dagger from Bergamo, =R=. - - _Bear-paw_, } a form of solleret with obtuse point. - _Bec du cane_, } - - _Becco di corvo_, It. see martel de fer. - - _Bec de faucon_, Fr. a war-hammer. - - _Beckenhaube_, Germ. see bascinet. - - _Beinröhren_, Germ. see jambe. - - _Beintaschen_, Germ. see tassets. - - _Beinzeug_, Germ. see cuissard. - - _Beringt_, Germ. ringed mail. - - _Beruier_, Fr. a light head-piece with ear-flaps and chin-strap, - XV cent., =G=. - - _Besagues_, O.E. small plates to protect the armpits, any small - plates of metal. - - _Bessa_, a pickaxe used by pioneers, XV cent. - - _Beavor_, } chin-piece of an armet or a sallad. - _Bevor_, } - - _Bicoquet_, Fr. a species of bascinet with neck and chin piece, - XV cent., =G=. - - _Bicorn_, } small anvil. - _Bickiron_, } - - _Bigateno_, O.F. a javelin or dart, =R=. - - _Bilbo_, a small rapier. - - _Bill_, a weapon with scythe-like blade and six-foot shaft. - - _Billette_, F., see toggle. - - _Biro_, O.F., a dart, javelin, or arrow, =R=. - - _Bisacuta_, } the military pick or two-edged axe, - _Bisague_, O.F., } XIII-XIV cent. - - _Bishop’s mantle_, a cape of mail. - - _Blacon_, O.F., a buckler or shield, =R=. - - _Blanc haubert_, Fr., coat of mail. - - _Blanchon_, O.F., a kind of pike, =R=. - - _Blank wafte_, Germ. see arme blanche. - - _Boetes_, boxes, =H=. - - _Bohordicum_, a burlesque joust in which sham lances (bohours) - were used. - - _Bombarde_, an early form of ordnance resembling a mortar. - - _Bonbicinium_, see bascinet. - - _Bordon_, } - _Bordonasse_, } a lance used for jousting. - _Borto_, } - - _Boson_, an arrow with a blunt point. - - _Bossoirs_, the bosses on the peytral of a horse. - - _Botafogo_, Sp. see linstock. - - _Botta a_, It. } armour proof against sword, axe, or - _Botte à_, Fr. } lance blow. - - _Botte cassée_, Fr., armour proof against all weapons, - “high proof.” - - _Botton_, a button or buckle for fastening the gorget to the - breast-piece. - - _Bouche_, the hole cut in the corner of the shield through which - to point the lance; also the circular hole in the vamplate. - - _Boucles_, Fr. see genouillière. - - _Boudrier_, Fr. see bandolier. - - _Bougeran_, } buckram used for tournament armour. - _Bougran_, } - - _Bougon_, } blunt-headed arrow for shooting game. - _Boujon_, } - - _Bougeon_, } - _Boujon_, } a crossbow quarrel, =R=. - _Boulon_, } - - _Bourdonasse_, Fr. see bordon. - - _Bourlet_, Fr. a coif. - - _Bourlet_, Fr. the swell of the muzzle of a cannon. - - _Bourlette_, Fr. a mace. - - _Bourrelet, à_, Fr. a method of attaching two plates together - sliding in burrs or slots. - - _Boutefeu_, Fr. linstock. - - _Bouterolle_, Fr. the chape of a sword. - - _Boutreaux_, Fr. the pendent strips of leather or fabric which - decorated the horse-trappings of the XV-XVI cent., =G=. - - _Bracciale_, It. brassard. - - _Bracciaiuola_, It. a small shield with arm-guard and “sword-breaker” - in one piece. - - _Bracciali_, It. see brassard. - - _Bracconnière_, Fr. see taces. - - _Bracelet_, Fr. the ring of metal which joined the vambrace to the - rerebrace, the elbow-cop, =C=. - - _Bracer_, a leathern wrist-guard used by archers of the long-bow. - - _Bracheta_, O.It. } see brayette. - _Braghetta_, } - - _Brandistocco_, It. a three-pronged spear, a swine-feather. - - _Braquemart_, a short, broad-bladed cutting sword. - - _Brasalot_, O.F. see elbow-cop. - - _Brassard_, the whole arm-defence, including vambrace, elbow-cop, - and rerebrace. - - _Brasselet_, see bracer. - - _Bratspiess_, Germ. see ranseur. - - _Brayette_, O.F. for codpiece. - - _Brazale_, Sp. brassard. - - _Brechenmesser_, Germ. see falcione. - - _Brechränder_, Germ, neck-guards on the pauldrons. - - _Bretelles_, Fr. straps for joining breast and back pieces. - - _Briccola_, O.It. a tiller or crossbow to shoot stones or arrows, =F=. - - _Brichette_, armour for loins and hips. - - _Brichette_, } breast-armour, XV cent. - _Brikette_, } - - _Brigandine_, a body-defence of small plates riveted to a cover - and lining of fabric. - - _Briquet_, Fr. a sword of cutlass form, early XIX cent. - - _Brise-cuirass_, Fr. a short, strong dagger. - - _Brise-épée_, Fr. see sword-breaker. - - _Brochiero_, It. a small buckler used for sword and buckler fights. - - _Broigne_, a shirt of mail. - - _Broke_, O.F. a kind of dagger, =R=. - - _Broquel_, Sp. see rondache. - - _Brújula_, Sp. see visor. - - _Brunt_, O.E. the front or peytral of a horse-trapper. - - _Brustpanzer_, Germ. see peytral. - - _Brustschild mit schönbart_, Germ, tilting-breastplate with - mentonière. - - _Bruststück_, Germ. breastplate. - - _Brygandyrons_, see brigandine. - - _Budrière_, It. cross-belt for a sword. - - _Bufe_, a movable bevor used with an open casqe. - - _Bufeta_, Sp. neck-guards on a pauldron. - - _Buffa_, the buffe or face-plate of a burgonet. - - _Bufle_, a coat of buff leather. - - _Buffetin_, Fr. see colletto. - - _Burdo_, see borto. - - _Bukel_, Germ. see rondache. - - _Burghera_, a gorget, =F=. - - _Burgonet_, a light, open helmet, generally found with ear-flaps - and sometimes a face-guard, XVI-XVII cent. - - _Burr_, the iron ring on the lance below the “grip” to prevent the - hand slipping back. - - _Buttafuoco_, It. see linstock. - - _Buttière_, Fr. a type of arquebus. - - _Buzo_, It. see quarrel. - - - C - - _Cabasset_, a helmet with narrow brim all round, XVI cent. - - _Cairelli_, O.It. see quarrel. - - _Caissia_, It. a case or quiver for arrows. - - _Calce_, the vamplate of a lance, also the butt end, also stockings, - =F=. - - _Caliver_, a short firelock. - - _Calote_, a skull-cap worn under the hat by cavalry, XVII cent. - - _Caltrop_, a ball with four spikes placed on the ground to receive - cavalry. - - _Calva_, Sp. skull or bowl of a helmet. - - _Camaglio_, It. see camail. - - _Camail_, a hood or tippet of chain mail, XIV-XV cent. - - _Camba_, O.It. see jambs. - - _Camberia_, see jambières. - - _Camisado_, It. the wearing of white shorts over armour for night - attacks. - - _Campane_, { O.F. the part of the horse-trappings on the - _Campanelle_, { haunches, decorated with large bells, XV-XVI cent. - - _Cambrasia_, O.It. a dart or arrow, =F=. - - _Cannon_, the tubular vambrace. - - _Cantle_, the rear peak of the saddle. - - _Capel de nerfs_, a whalebone or leather helmet, XIV cent. - - _Capelina_, It. a skull-cap of steel. - - _Capellum_, the sword sheath or scabbard. - - _Caperuza_, Sp. see chapel-de-fer. - - _Carcasse_, Fr. a bomb. - - _Carcasse_, It. a quiver. - - _Cardelli_, It. see quarrel. - - _Cargan_, a collar or gorget of mail. - - _Carnet_, the visor. - - _Carousella_, } a mimic fight with clay balls and shields. - _Carousel_, } - - _Carquois_, Fr. a quiver. - - _Carreau_, Fr. see quarrel. - - _Cartouche_, Fr., a charge of powder and shot wrapped up in paper; - a cartridge. - - _Casque_, open helmet, often of classical design, late XVI cent. - - _Casquetel_, an open head-piece with brim and back peak reaching far - down the neck, XVII cent. - - _Cassa_, It. the stock of a firearm. - - _Castle_, O.E. a variety of helmet. - - _Cataffratto_, } a mail-clad horse. - _Cataphractus eques_, } - - _Cataye_, O.F. a javelin or a catapult, =R=. - - _Catchpole_, a long-handled spring fork used to catch the opposing - knight round the neck and unhorse him. - - _Catocio_, the charge of powder for musket or cannon, =F=. - - _Caxeo_, } Sp. see casque. - _Caxa_, } - - _Cazoleta_, Sp. the “pan” of the arquebus. - - _Celada de engole_, Sp. a helm worn for foot-jousts with axe, sword, - or spear. - - _Celata_, It. see sallad. - - _Celata da incastro_, It. see armet. - - _Celata Veneziana_, It. a Venetian form of sallad with a nose-piece, - XV cent. - - _Cerbatane_, some kind of ordnance, =G=. - - _Cerveliera_, It. a metal skull-cap, a secrete. - - _Cervicale_, Fr. see crinet, =G=. - - _Cesello_, It. repoussé-work used in the decoration of armour. - - _Chamfron_, } - _Chanfrein_, } defence of plate for the horse’s head. - _Chanfron_, } - - _Champ-clos_, O.F. see lists. - - _Chape_, the metal tip at the lower end of a sword or dagger sheath. - - _Chapel d’acier_, Fr. a steel war-hat. - - _Chapel-de-fer_, Fr. a broad-brimmed helmet used from XII to XVI cent. - - _Chapel de Montauban_, Fr. a steel war-hat made at Montauban, XIV cent. - - _Chapewe_, see chapel-de-fer. - - _Chapras_, the brass badge worn by a messenger. - - _Chard_, the string of a sling. - - _Charnel_, O.E. the bolt that fixed the tilting-helm to the - breastplate. - - _Chausses_, covering for the lower leg and foot of chain mail. - - _Chaussons_, trews or breeches of chain mail. - - _Cheeks_, the strips of iron that fix the pike-head to the shaft. - - _Cheminée_, Fr. the nipple of a gun. - - _Cherval_, a gorget. - - _Chastones_, rivets. - - _Chianetta_, a helmet, =F=. - - _Chiave da mota_, It. key for a wheel-lock. - - _Chien_, Fr., cock of a firelock. - - _Chiodo da voltare_, It. a turning-rivet. - - _Choque_, some kind of firearm, variety unknown. - - _Cimier_, the crest on the helm. - - _Cinquedea_, It. a short, broad-bladed dagger for ceremonial use, - made in Venice and Verona, five fingers (_cinque ditta_) wide at - the base. - - _Ciseau_, a blunt-headed quarrel for the crossbow, =G=. - - _Clavel_, O.F., a lace for fastening the coif of mail or the - hauberk, =G.= - - _Clavones_, rivets. - - _Claid heamh_, a sword, Gaelic. - - _Claid mor_, a broadsword, Gaelic. - - _Claid crom_, a sabre, Gaelic. - - _Claid caol_, a small sword, Gaelic. - - _Claymore_, a Scottish two-hand sword (see above). The modern use of - the word is erroneous. - - _Clef_, trigger. - - _Clevengi_, studs to fasten the fendace or gorget. - - _Clibanion_, a jack of scale armour, =G=. - - _Clipeus_, It. a circular shield. - - _Clous perdus_, Fr., false and useless rivet-heads found in - XVII-cent. armour. - - _Cnémide_, Fr. see jambs. - - _Coche_, the notch of an arrow, the nut of a crossbow, =C=. - - _Coda di gambero_, It. see lobster-tail. - - _Codole_, Sp. elbow-cop. - - _Codpiece_, a piece of plate to protect the fore-body. - - _Coif de mailes_, hood of chain mail, see camail. - - _Colichemarde_, swords invented by Königsmark about 1661-86. - - _Colet_, } - _Coletin_, } Fr. a gorget, also a jerkin. - _Collettin_, } - - _Colletto_, It. a buff coat. - - _Collo_, It. see crinet. - - _Colodrillo_, Sp. the plate of the helmet that covered the nape of - the neck. - - _Coltellaccio_, It. see cutlass. - - _Cophia_, a coif of mail. - - _Coppo_, It. the skull of a helm or helmet. - - _Corale_, see cuisses. - - _Coracina_, Sp. cuirass. - - _Corium_, armour composed of leather. - - _Cornel_, } O.E. the rosette or button fixed on the - _Coronall_, } tip of the lance in some forms of tilting. - - _Corpel_, O.F. the hilt of a sword, =R=. - - _Corregge_, It. see bretelles. - - _Corseque_, Fr. a species of partizan, =G=. - - _Corsesca_, It. see ranseur. - - _Cosciale_, } - _Coscioni_, } see cuissard. - _Costale_, } - - _Coschewes_, O.E. see cuisses. - - _Costa_, It. the wings on the head of the war-mace. - - _Coat-armour_, see surcoat. - - _Coterel_, O.F. a large knife, =R=. - - _Cotta di maglia_, It. a coat of mail. - - _Cottyngyre_, cold-chisel. - - _Coude_, } - _Coudière_, } elbow-pieces of plate. - _Coute_, } - - _Coup de poing_, Fr. a small pistol. - - _Coursel_, Fr. windlass for a crossbow, =G=. - - _Coussart_, a demi-glaive, XV cent. - - _Coustile_, Fr. a knife and possibly a staff-weapon with cutting - point, =G=. - - _Coustil à croc_, } short, single-handed sword with two-edged blade. - _Coutel_, } - - _Couvrenuque_, Fr. the neck-plate of the back of the armet or sallad. - - _Cracowes_, } sometimes used for poleynes and also - _Crakoes_, } for pointed shoes, XIV cent. - - _Crampon_, a bolt for attaching the helm to the cuirass. - - _Cranequin_, the wheel and ratchet machine for bending the crossbow. - - _Cravates_, French mounted militia. - - _Cresta_, It. } - _Cresteria_, Sp. } crest of a helmet. - _Crête_, Fr. } - - _Crête-échelle_, a support fixed from helm to back-plate to take - the shock when tilting. - - _Crêtu_, O.F. a sword-breaker, =R=. - - _Crinet_, armour for the horse’s neck. - - _Crochets de retraits_, trail-hooks of a cannon, =H=. - - _Crinière_, see crinet. - - _Croissante_, see moton. - - _Crosse_, the butt of a gun or a crossbow. - - _Croupière_, armour for the hinder part of a horse. - - _Cubitiera_, It. elbow-cop. - - _Cubrenuca_, Sp. see couvrenuque. - - _Cuirass_, body-armour, originally of leather, afterwards of plate. - - _Cuir-bouilly_, } defences for horse and man made of - _Cure-buly_, } boiled and moulded leather. - - _Cuissards_, leg-armour, comprising cuisses and knee-cops and jambs. - - _Cuishe_, } - _Cuisse_, } thigh-pieces of plate. - _Cuyshe_, } - - _Cuissots_, see cuisse. - - _Culasse_, the breech of a gun. - - _Culet_, kilt or skirt. - - _Cullotes_, Fr. breeches. - - _Culverin_, a hand-gun or light piece of ordnance, XV, XVII cent. - - _Curatt_, see cuirass. - - _Curtale_, O.It., a variety of cannon, =F=. - - _Curtana_, the blunted “sword of Mercy” used at the Coronation. - - _Curtelaxe_, O.E. for cutlass. - - _Ciclaton_, } a tight-fitting surcoat shorter in front - _Cyclas_, } than behind, XIV cent. - - _Cyseau_, O.F. an arrow or dart, =R=. - - - D - - _Daburge_, a ceremonial mace. - - _Dag, Tag_, a short pistol, XVI-XVII cent. - - _Dague à couillettes_, Fr. see balloch knife. - - _Dague à oreilles_, a dagger with the pommel fashioned like two - circular wings. - - _Dague à rognons_, Fr. a dagger with kidney-shaped projections above - the quillons. - - _Dague à ruelle_, Fr. a dagger with thumb-ring. - - _Dard_, Sp. javelin. - - _Degen_, Germ. sword, dagger. - - _Demi-poulaine_, pointed sollerets of medium length. - - _Demy-teste_, O.E. a steel skull-cap, =C=. - - _Destrier_, a war-horse. - - _Détente_, Fr. the trigger. - - _Diechlinge_, } Germ. see cuisse. - _Dieling_, } - - _Dilge_, Germ. leg-guard for jousts. - - _Dobbles_, O.E. probably moulds or patterns on which armour was made. - - _Dolch_, Germ. poniard. - - _Dolequin_, a dagger, =R=. - - _Doloire_, a short-handled axe, =G=. - - _Dolon_, O.E. a club, =R=. - - _Dorso_, It. the back of a gauntlet. - - _Dos_, Sp. back-plate of a cuirass. - - _Dossière_, Fr. the back-piece of the cuirass. - - _Dussack_, Hungarian and German sword of cutlass form. - - - E - - _Écrevisse_, Fr. see lobster-tail. - - _Écu_, Fr. shield. - - _Écouvillon_, sponge of a cannon. - - _Eisenkappe_, Germ. a skull-cap of steel. - - _Eisenschuhe_, Germ. see sollerets. - - _Elbow-cops_, elbow-pieces of plate armour. - - _Elbow gauntlet_, a metal or leather glove with cuff reaching to - the elbow, XVI, XVII cent. - - _Elingue_, O.F. a sling, =R=. - - _Ellenbogenkachel_, Germ. see coude. - - _Elmo di giostra_, It. a tilting-helm. - - _Elsa_, } - _Elso_, } the hilt of a sword or dagger, =F=. - _Elza_, } - - _Enarmes_, the loops for holding a shield. - - _Encoche_, see coche. - - _Enlace_, see anelace. - - _Épaulière_, } shoulder-defence, of plate. - _Éspalière_, } - - _Épaule-de-Monton_, Fr. see poldermitton. - - _Épieu_, a spear; a spear with crossbar or toggle, =G=. - - _Esca_, It. tinder. - - _Escarcelas_, Sp. tassets. - - _Escarpes_, Sp. sollerets. - - _Esclaivine_, O.F. a dart, =R=. - - _Escopette_, a pistol or carbine with a firelock, =C=. - - _Espada_, Sp. a long sword. - - _Espadin_, Sp. a short sword. - - _Espaldar_, Sp. pauldron. - - _Espare_, O.F. a dart, =R=. - - _Espieu_, see épieu. - - _Espingardier_, an arquebussier, =C=. - - _Esponton_, Fr. see spontoon. - - _Espringale_, a siege crossbow on wheels, a piece of siege - ordnance, =G=. - - _Espuello_, Sp. spur. - - _Estival_, leg-armour for a horse; exceedingly rare in MSS.; only - one example of this armour exists, in Brussels. - - _Estoc_, a thrusting sword. - - _Estradiots_, Greek horsemen, temp. Charles VIII. - - _Estramaçon_, the edge of a sword, a sword-cut. - - _Étoupin_, a quick-match. - - _Étrière_, a military flail, =G=. - - _Étrier_, Fr. stirrup. - - _Exsil_, O.F. the scabbard of a sword, =R=. - - - F - - _Falcione_, It. see falk. - - _Falda_, It. see taces. - - _Falarique_, an arrow headed with tow, for incendiary purposes, =G=. - - _Faldaje_, Sp. taces. - - _Falk_, a primitive weapon formed of a scythe-blade fixed on a pole; - a glaive. - - _Falsaguarda_, Sp. the wings on the blade of the two-hand sword. - - _Fan-plate_, the “wing” on the outside of the knee-cop. - - _Fauchard_, see glaive. - - _Faucre_, Fr. a lance-rest. - - _Fautre_, Fr. thigh-armour. - - _Faux_, see falk. - - _Feather-staff_, a staff in which are concealed spikes released by - a spring. - - _Federzapfen_, Germ. spring-pins to which the pauldrons are hung, - XVI cent. - - _Fendace_, a species of gorget, XV cent. - - _Feure_, O.F. a scabbard, =R=. - - _Fiancali_, It. see tasset, also flanchard. - - _Fioreti_, It. a thrusting foil. - - _Flail_, the military flail was like the agricultural implement, but - as a weapon of war the thresher was of iron instead of wood. - - _Flambard_, } a two-hand sword with wavy blade. - _Flamberge_, } - - _Flamberg_, Germ. rapier with wavy blade. - - _Flanchard_, O.E. } - _Flancoîs_, Fr. } armour for the flanks of a horse. - _Flankenpanzer_, Germ. } - _Flanqueras_, Sp. } - - _Flaon_, Fr. a wedge fastened to the breast-piece which took the - shock of the shield; see poire. - - _Fleau_, Fr. military flail. - - _Flechière_, see flanchard. - - _Fletcher_, a maker of arrows. - - _Fleuret_, thrusting foil. - - _Flight_, an arrow for distance shooting. - - _Flo_, O.E. arrow. - - _Forcina_, It. a gun-fork. - - _Forconi_, It. a military fork for escalades. - - _Fornimento_, It. the hilt of a sword. - - _Fouchard_, see glaive. - - _Fouloir_, the rammer of a cannon. - - _Framée_, O.F. a mallet or mace, =R=. - - _Francesca_, It. a battle-axe or pole-axe. - - _Francisque_, a long-handled axe, =R=. - - _Freccia_, It. an arrow. - - _Freiturnier_, Germ. a joust run without a barrier, XVI cent. - - _Frête_, O.F. a variety of arrows, =R=. - - _Frog_, the hanger of a sword-belt. - - _Fronde_, Fr. a sling. - - _Frontale_, It. see chamfron. - - _Fronteau_, F. see chamfron. - - _Fueille_, the blade of a sword, =C=. - - _Fusetto_, It. see misericorde. - - _Fusil_, short musket with a firelock. - - _Fussturnier_, Germ. joust on foot, XVI cent. - - _Fust_, the stock of a firearm. - - - G - - _Gadlings_, knuckle or finger spikes fixed to the gauntlet. - - { Gay derives this from canepin, sheep or - _Gagnepain_, { goat leather, hence a glove of leather, mail, - _Gaynpayne_, { or plate. Meyrick explains it as a sword. - - _Galapentin_, O.F. a sword or sabre, =R=. - - _Galea_, It. a helm. - - _Gambeson_, a quilted tunic, XI cent. - - _Gambiera_, It. see jambs. - - _Gardaignes_, O.F. arms, clothing, etc., =R=. - - _Garde-de-bras_, reinforcing piece for the left arm, used in tilting. - - _Garde-faude_, Fr. see codpiece. - - _Garde-ferre_, O.F. the rest of the lock of the arquebus (pan cover?), - =C=. - - _Garde-collet_, Fr. neck-guards on the pauldron. - - _Garde-rein_, E.Fr. loin-guard of armour. - - _Garde-queue_, Fr. the tail-guard of a horse. - - _Garrock_, } used for the quarrel of the crossbow - _Garrot_, } and also for the lever. - - _Gaudichet_, O.F. a mail shirt. - - _Gaveloc_, } - _Gaveloche_, } a species of javelin. - _Gavelot_, } - - _Gavette_, It. the string of the crossbow. - - _Genestare_, O.F. a javelin, =R=. - - _Gedritts_, a German form of joust in which the challenger fought - two opponents in succession. - - _Gefingerte handschuh_, Germ. gauntlet with separate articulated - fingers. - - _Geldière_, O.F. a kind of lance, =R=. - - _Genetaire_, a javelin, XV. cent. - - _Genouillières_, jointed knee-pieces of plate. - - _Gentilhomme_, a wooden cannon bristling with spikes, XVI cent., =G=. - - _Gesäfreifen_, Germ. rein or loin guard. - - _Gestech_, various forms of the joust as practised in Germany, run - without barriers. - - _Ghiazarino_, It. see jazerant. - - _Gibet_, a military mace. - - _Gibicière_, Fr. a cartridge box, also pouch. - - _Ginocchietti_, see genouillière. - - _Gisarme_, a staff weapon of the glaive order. - - _Giostra_, It. joust. - - _Glaive_, a species of bill with a large blade. - - _Glazing-wheel_, polishing-wheel for armour plates. - - _Gliedschirm_, Germ. see codpiece. - - _Goat’s-foot_, a lever for bending the crossbow. - - _Godbert_, see hauberk. - - _Godendar_, } - _Goedendag_, } a species of short club at the top of - _Goudendar_, } which is a spike, XIII-XIV cent. - - _Goie_, } a hedging-bill, =C=. - _Goy_, } - - _Goiz_, O.F. a sword, =R=. - - _Gola_, Sp. } gorget. - _Goletta_, It. } - - _Gonpillon_, Fr. see holy-water sprinkle. - - _Gonfanon_, Fr. a flag or standard. - - _Gorget_, } - _Gorgiera_, It. } a wide plate collar to protect the - _Gorjal_, Sp. } throat, XVIII cent.; purely ornamental. - _Gougerit_, Fr. } - - _Gossets_, see gussets. - - _Graffe_, Fr. a small dagger. - - _Grand-guard_, reinforcing piece for tilting, worn on the left - shoulder. - - _Grano d’orzo_, It. chain mail closed with a rivet. - - _Grappes_, Fr. { a toothed ring on the “grip” of the lance which - _Grappers_, { held the weapon firmly against the wood or lead - _Grates_, { block behind the lance rest. - - _Greave_, } - _Greve_, Fr. } shin-defence, of plate. - _Greba_, Sp. } - - _Gronda_, It. see couvrenuque. - - _Groppa_, It. } see crupper. - _Grupera_, Sp. } - - _Guanciali_, It. ear-flaps of a burgonet. - - _Guardabrazos_, Sp. see pauldron. - - _Guardacorda_, It. see garde-queue. - - _Guardacuore_, It. see mentonière. - - _Guardagoletta_, It. the neck-guards on the pauldrons. - - _Guarda-o-rodillera_, Sp. knee-cop. - - _Guardastanca_, It. see grand-guard. - - _Guige_, the strap round the neck to carry the shield, XII cent. - - _Guiterre_, O.F. a small buckler of leather, =R=. - - _Gusset_, pieces of chain mail, tied with points to the “haustement” - to cover those portions of the body not protected with plate armour; - they were usually eight in number, viz. for armpits, inner side of - elbows, knees and insteps. - - _Guyders_, straps to fasten the various pieces that went to make up - the suit of plate armour, also gussets. - - _Gynours_, the servers of catapults and the like siege engines. - - - H - - _Hackbuss_, see arquebus. - - _Hake, demi-hake_, O.E. the former an arquebus, the latter a short - firearm, XVI cent. - - _Hagbuttes_, arquebus. - - _Haketon_, see gambeson. - - _Halacret_, see alacret. - - _Halagues_, crossbowmen, =R=. - - { a long-shafted weapon with crescent-shaped blade on one - _Halebarde_, { side and a hook or spur on the other, surmounted - _Halbert_, { by a spear-head; sometimes found with double blade, - _Harlbart_, { XV and XVI cent. - - _Halsberge_, Germ. see gorget. - - _Hampe_, the staff of a halbert or pike. - - _Hand and half sword_, see bastard sword. - - _Hansart_, O.F. a missile weapon of the javelin order, =R=. - - _Harnischekappe_, Germ. the padded cap worn under the tilting-helm. - - _Hars_, O.F. a bow, =R=. - - _Harthstake_, a rake or poker for the forge. - - _Haubergeon_, } short { shirt of chain mail, XI to XII cent. - _Hauberk_, } long { - - _Haulse-col_, } Fr. see gorget. - _Hausse-col_, } - - _Hausecol de mailes_, Fr. see standard of mail. - - _Haustement_, Fr. a close-fitting undergarment to which the hose - and the chausses were fastened with points. - - _Haute barde_, Fr. a high-peaked saddle. - - _Haute cloueure_, Fr. high-proof armour, especially mail. - - _Hauste_, O.F. the staff of a pike, =R=. - - _Heaume_, a heavy helm without movable visor and only an eye-slit - or occularium, mostly used for tilting. - - _Hendeure_, Fr. the “grip” of the sword. - - _Hentzen_, Germ. mitten gauntlets. - - _Hinterarm_, Germ. see rerebrace. - - _Hinterfluge_, Germ. the back-plate of the pauldron. - - _Hinterschurz_, Germ. see garde-rein. - - _Hobilers_, common light-horse troopers. - - _Hoguines_, see cuisse. - - _Holy-water sprinkle_, a shaft of wood fitted with an iron - spike-studded ball, XVI cent. - - _Horse-gay_, a demi-lance, XV cent. - - _Hosting harness_, armour for war as distinct from that of the joust. - - _Hufken_, a light head-piece worn by archers, XVI cent. - - _Huque_, long surcoat worn over the armour, XV cent. - - _Huvette_, Fr. a head-piece of leather or cloth stiffened with - wicker or metal, XIV cent. - - _Hwitel_, Anglo-Saxon, knife. - - - I - - _Imbracciatura_, It. see enarmes. - - _Imbricated mail_, see jazerant. - - - J - - _Jack_, a loose-fitting tunic of leather, either quilted or - reinforced with plates of metal or horn. - - _Jambers_, } see jambs. - _Jambeux_, } - - _Jamboys_, skirts of plate, XVI cent., see bases. - - _Jambs_, armour for the lower leg. - - _Janetaire_, see javelin. - - _Jarnac, Brassard à la_, a jointless arm-piece of plate reaching - from shoulder to wrist. - - _Jarnac, Coup de_, a cut on the back of the leg or a “hamstringing - cut.” - - _Jazerant_, body-armour made of small plates, of the brigandine type. - - _Jeddartstaff_, a long-shafted axe. - - _Jupon_, a short surcoat, XIV-XV cent. - - _Justes of peace_, jousts at barriers. - - - K - - _Kamm_, Germ. the crest or ridge of the helmet as distinct from the - heraldic crest. - - _Kamfhandschuhe_, Germ. gauntlet. - - _Kehlstück_, Germ. the neck-plate in the front of an armet. - - _Kettyl-hat_, a wide-brimmed steel war-hat, XIV cent. - - _Kinnreff_, Germ. bevor. - - _Knee-cops_, { knee-defences of plate, first worn - _Kniebuckel_, Germ. { over chain-mail chaussons, and - _Kniestück_, Germ. { afterwards with complete plate armour. - - _Knuckle-bow_, the part of the sword-guard that protects the knuckle. - - _Kragen_, Germ. gorget. - - _Krebs_, Germ. see tasset. - - - L - - _Lama_, It. sword-blade. - - _Lama a biscia_, It. see flamberge. - - _Lamboys_, see jamboys. - - _Lambrequin_, a species of hood of cloth attached to the helmet with - “points,” and falling down at the back to protect the wearer from heat - and rain. - - _Lames_, narrow strips of steel riveted together horizontally as in - the taces. - - _Lance a böete_, a lance with blunted point. - - _Lance de carrière_, a lance for tilting at the ring, =C=. - - _Lance a rouèt_, or _courtoise_, blunted lances for tournaments, =R=. - - _Lance-rest_, an adjustable hook or rest fixed on the right side of - the breastplate. - - _Lancegay_, } O.F. a short spear, hence light horseman, =R=. - _Launcegay_, } - - _Lanciotto_, It. javelin. - - _Lansquenette_, } a broad-bladed double-edged - _Landsknecht_, } sword, and also German mercenary - _Lanzichenecco_, It. } infantry, XVI cent. - - _Leva_, It. see goat’s-foot lever. - - _Lendenplatte_, Germ. a large cuisse for tilting. - - _Lingua di bue_, It. see cinquedea. - - _Linstock_, a combination of pike and match-holder, used by gunners - for firing cannon. - - _Lobster-tail_, back peak of a helmet, or cuisses, made of - overlapping lames like a lobster-shell, XVII cent. - - _Lochaber axe_, a long-shafted axe. Scottish, XVII, XVIII cent. - - _Locket_, the metal socket at the top of the sword sheath with - button for hanging to the belt. - - _Locking gauntlet_, a gauntlet of plate in which the finger-plates - lap over and fasten to a pin on the wrist, used for fighting at - barriers, XVI cent. - - _Loque_, O.F. a quarter-staff, =R=. - - _Luchet_, O.F. an iron pike, =R=. - - _Luneta_, Sp. rondel. - - _Lunette_, Fr. open sword-guard, late XVII cent. - - - M - - _Maglia gazzarrina_, It. see jazerant. - - _Maglia piatta_, It. see ringed mail. - - _Mähenpanzer_, Germ. see crinet. - - _Maillet_, Fr. a martel de fer, XIV cent. - - _Mainfaire_, } a right-hand gauntlet. - _Manifer_, } - - _Main gauche_, dagger used with the left hand when the right hand - held the sword. - - _Maleus_, a falchion, =F=. - - _Mamillières_, circular plates worn over the breast to hold chains - to which the sword and dagger were attached, XIV cent. - - _Mancina_, It. see main gauche. - - _Manetta_, It. the trigger of a gun, also a spanner. - - _Manezza di ferro_, an arming-gauntlet, =F=. - - _Manicle_, gauntlet. - - _Manico_, It. the grip of a sword. - - _Manoglia_, It. the handle of a small buckler. - - _Manopla_, Sp. } gauntlet. - _Manople_, It. } - - _Manteau d’armes_, a rigid cape-like shield fixed to the left breast - and shoulder for tilting. - - _Mantling_, see lambrequin. - - _Martel de fer_, Fr. } a war-hammer used by horse and foot. - _Martello d’arme_, It. } - - _Martinetto_, } - _Martinello_, } It. see cranequin. - - _Mascled_, _mail_, { lozenge-shaped plates of metal, sometimes - _Macled_, _mail_, { overlapping, sewn upon a tunic of leather or - { quilted linen, XI, XII cent. (Meyrick). - - _Massüe_, Fr. a mace or club. - - _Matchlock_, a firearm with touch-hole and fired with a match, - early XV cent. - - _Mattucashlass_, a Scottish dagger carried under the armpit. - - _Maule_, a mace or club. - - _Maximilian armour_, a style of plate armour distinguished by shallow - vertical flutings, said to have been devised by the Emperor Maximilian I, - XVI cent. - - _Mazza d’arme_, It. war-mace. - - _Mazzafrustro_, It. see flail, also morning star. - - _Méche soufrée_, a slow-match. - - _Mell_, see maule. - - _Mentonière_, a piece used with the sallad to protect chin and breast. - - _Merlette_, O.F. a sergeant’s staff, =R=. - - _Meris_, O.F. a javelin, =R=. - - _Meusel_, Germ, see elbow-cop. - - _Mezail_, Fr. visor. - - _Miccia_, It. a gun-match. - - _Migerat_, O.F. a dart or arrow, =R=. - - _Minion_, a four-pounder, XVI cent. - - _Misericorde_, short dagger used for the _coup de grâce_. - - _Missodor_, O.F. a war horse, =R=. - - _Mitten-gauntlet_, } gauntlet in which the fingers are - _Mittene_, It. } not separate. - - _Moresca_, It. see taces. - - _Morion_, light helmet with crest and inverted crescent brim, latter - end of XV cent. - - _Morning star_, a spike-studded ball hung by a chain from a short - staff, XIV-XV cent. - - _Morso_, It. the horse’s bit. - - _Moschetto_, It. see matchlock. - - _Mostardo_, a musket, =F=. - - _Moton_, plates to protect the armpits, especially the right, - XIV cent. - - _Moulinet_, the windlass used for drawing the crossbow. - - _Moyenne_, see minion. - - _Murice_, a caltrop, =F=. - - _Musacchino_, see pauldrons. - - _Muschettæ_, It. projectiles used with the crossbow. - - _Muserag_, a missile weapon of some kind, =F=. - - _Musoliera_, It. a horse-muzzle. - - - N - - _Nackenschirm_, Germ. neck-plate at the back of an armet. - - _Naide_, anvil. - - _Naitoules_, some appliance for closing rivets. - - _Nasal_, a bar of steel fixed or movable on the front of the helmet - to protect the nose, in more general use during XI cent., revived - afterwards in XVII cent. - - _Neighletts_, the metal tags of the arming-points. - - _Nowchys_, embossed buckles and ornaments for armour, XV cent. - - _Noyeau_, the core of a gun. - - - O - - _Oberarmzeug_, Germ. rerebrace. - - _Occularium_, the eye-slit in the helm. - - _Oreillettes_, ear-pieces, found in the later forms of the casque - and burgonet. - - _Orle_, the wreath or twisted scarf worn on the helmet immediately - beneath the crest. - - _Oriflamme_, the ancient banner of the Abbey of S. Denis used by - the kings of France. - - _Ospergum_, see hauberk. - - _Ottone_, It. brass or latten, used for edging armour, etc., =F=. - - - P - - _Paefustum_, a battle-axe, XV cent. - - _Palet_, a small skull-cap of cuir-bouilly or steel. - - _Palettes_, circular plates to protect the armpits. - - _Panart_, O.F., a large knife, =R=. - - _Panache_, Fr. the plume of feathers on the helmet. - - _Pansier_, Fr. the lower portion of the cuirass when it is formed of - two pieces. - - _Panzer_, body-armour, XI-XIV cent. - - _Panziera_, It. see codpiece. - - _Parement_, a surcoat or ceremonial dress of rich fabric. - - _Parma_, It. a small shield or buckler. - - _Partigiana_, It. { a long-shafted weapon with broad-pointed blade, - _Partizan_, { in form allied to the pike and the halbert. - - _Partlet_, O.E. gorget, =F=. - - _Pas d’âne_, Fr. loops of bar steel immediately over the cross-hilt - of the sword. - - _Pasguard_, a reinforcing piece for the left elbow, used in tilting. - - _Passe-garde_, Fr. the French, following Meyrick, use this word - _wrongly_ for neck-guards. - - _Passadoux_, a Gascon arrow, =C=. - - _Passe_, the rack for stringing the crossbow, =C=. - - _Passot_, O.F. a dagger, =R=. - - _Patelet_, a padded vest worn under armour, XVI cent. - - _Patrel_, see poitrel. - - _Patron_, a case for pistol cartridges. - - _Patula_, a short sword or dagger. - - _Pauldrons_, shoulder-pieces of plate. - - _Pavade_, a long dagger. - - _Pavache_, Fr. } - _Pavesche_, } a large shield used by bowmen. - _Pavise_, } - _Pavois d’assout_, O.F. } - - _Pavon_, a large triangular flag. - - _Peascod_, a form of breastplate made with a central ridge, and - pointed slightly downward at the lower extremity, XVII cent. - - _Pectoral_, a breast defence of mail. See also peytral. - - _Pell_, } a sharpened stake used by the Norman peasants. - _Pill_, } - - _Pellegrina di maglia_, It. mail cape or collar. - - _Pennacchiera_, It. } see porte-panache. - _Penacho_, Sp. } - - _Pennon_, a pointed banner used by knights bachelor and esquires. - - _Pentina_, O.I. a short pike, =F=. - - _Pertuisan_, Fr. partizan. - - _Peto_, Sp. breastplate. - - _Petail matres_, a large-headed dart or arrow, =R=. - - _Petronel_, a short firearm fired with a flint or pyrites (the common - explanation that it was discharged held at the chest is erroneous). - - _Pettiera_, It. see peytral. - - _Petto_, It. breastplate. - - _Peytral_, the breastplate of a horse. - - _Pezonaras_, Sp. see bossoirs. - - _Pfeifenharnisch_, Germ. embossed armour to imitate puffed silk or - velvet, XVI cent. - - _Pheon_, a barbed javelin used by the sergeant-at-arms. - - _Picca_, It. see pike. - - _Picière_, Fr. see peytral. - - _Pieces of advantage_, reinforcing pieces for the joust. - - _Pied de biche_, Fr. see goat’s-foot lever. - - _Pied de chèvre_, a crowbar. - - _Pike_, a long-shafted weapon used by footmen only. It had a - lance-like head, and was shod at the butt-end with iron for fixing - in the ground to receive cavalry, XIV-XVIII cent. - - _Pike-guard_, a ridge of metal set upright on the pauldrons, on the - left side, erroneously called pasguard. - - _Pile_, the head of the arrow. - - _Pistolese_, a large dagger or knife, =F=. - - _Pizane_, Fr. breastplate. - - _Placard_, } a reinforcing breastplate, XVI-XVII cent. - _Placcate_, } - - _Plater_, the maker of armour plates as distinct from the armourer - who made up the plates into armour. - - _Platner_, Germ. armourer. - - _Plastron_, the upper portion of the cuirass when it is formed of - two pieces. - - _Plastron-de-fer_, a defence of plate, usually circular, worn on the - breast under or over the hauberk. - - _Plates, Pair of_, back and breast plates, XIV-XV cent. - - _Platine_, Fr. the lock of a firelock. - - _Plommée_, Fr. a leaden mace; also holy-water sprinkler. - - _Poignard_, a dagger. - - _Poinçon_, the stamp or trade-mark of the armourer. - - _Points_, laces for securing the gussets of mail to the undergarment, - and also the lambrequin to the helm. - - _Poire_, Fr. a pear-shaped button through which the laces passed that - held the shield to the left breast, XVI cent. - - _Poitrel_, breast-armour for a horse. - - _Poldermitton_, a defence for the inner bend of the right arm, used - in the joust. - - _Pole-axe_, a long-shafted axe with beak and spear point. - - _Poleynes_, see knee-cops, XIII-XIV cent. - - _Polion_, some part of the crossbow. - - _Pommel_, the finishing knob of the sword-grip; also the fore peak - of the saddle. - - _Pompes_, see poleynes. - - _Pontale_, the chape of a sword or dagger; also the tag on an - arming-point or lance, =F=. - - _Porte-panache_, Fr. the plume-holder on the helmet. - - _Posolino_, It. see croupière. - - _Pot_, a broad-brimmed helmet worn by pikemen, XVII cent. - - _Poulaine, À la_, sollerets with extremely pointed toes, XIV cent. - - _Pourpoint_, a padded and quilted garment of leather or linen. - - _Pourpointerie_, quilted material with metal studs at the - intersection of the quilting seams. - - _Pryke-spur_, a spur with a single point and no rowel. - - _Pugio_, } It. a small dagger. - _Pugnale_, } - - _Pully-pieces_, } see poleynes. - _Putty-pieces_, } - - _Pusane_, } see pizane. - _Puzane_, } - - - Q - - _Quadrelle_, It. a small mace with leaf-like projections, also - quarrel. - - _Quarrel_, the bolt or projectile used with the crossbow. - - _Quetyll_, O.E. a knife. - - _Queue_, a projecting hook on the back-piece of the cuirass to take - the butt-end of the lance when held in rest. - - _Quijotes_, Sp. see cuisse. - - _Quillions_, the cross-hilt of the sword. - - - R - - _Raillon_, O.F. a kind of arrow, =R=. - - _Rainoise_, an unknown type of arquebus. - - _Ranfort_, the reinforce ring of a cannon. - - _Ranseur_, a large trident with sharpened blades set on a long shaft; - a species of partizan. - - _Rennen_, German jousting courses with sharp spear-head. - - _Rennhutschraube_, Germ. see crête-échelle. - - _Rerebrace_, armour for the upper arm. - - _Rest of advantage_, some detail of armour forbidden in jousts of the - XVI cent.; possibly some kind of lance-rest. - - _Resta_ } lance-rest. - _Restra de muelle_, Sp. } - - _Ricasso_, the squaring of the base of the sword-blade next above - the quillons. - - _Ringed mail_, formed of flat rings sewn side by side on a tunic of - leather or quilted linen, XI cent. - - _Rivet_, a suit of armour; afterwards the small nails that hold it - together. - - _Rochet_, the blunt lance-point for jousting. - - _Rodete_, O.F. a spur, =R=. - - _Roelle_, O.F. a buckler or small shield. - - _Roncone_, It. see gisarme. - - _Rondache_, a circular shield, XV-XVI cent. - - _Rondel_, } circular plate protecting the armpit; - _Rondelle_, Fr. } also at the back of early armets. - - _Rondel of the guard_, possibly a vamplate. - - _Ross-stirn_, Germ. see chamfron. - - _Rodela_, } a circular shield. - _Rotela_, It. } - - _Rotellina da bracciale_, It. rondel. - - _Rüchenstück_, Germ. back-plate of the cuirass. - - _Rüsthaken_, Germ. lance-rest. - - _Rustred mail_, see banded mail (Meyrick). - - _Rustung_, Germ. armour. - - - S - - _Sabataynes_, } O.E. see sollerets. - _Sabatons_, } - - _Sacheboute_, O.F. a horseman’s lance, =R=. - - _Sagetta_, a casque or helmet, =F=. - - _Salade_, } helmet with wide brim at the back, worn - _Salett_, } with or without visor and mentonière, - _Sallad_, } XVI cent. - - _Sautoir_, O.F. stirrup. - - _Sbalzo_, It. see cesello. - - _Scarpa a becco d’anatra_, It. see bear-paw. - - _Scarpa a punta articolata_, It. see poulaine. - - _Scarpa a piè d’orso_, It. see bear-paw. - - _Scarsellone_, It. see tasset. - - _Schale_, } Germ. sallad. - _Schalern_, } - - _Schamkapsel_, Germ. see bravette. - - _Scheitelstuck_, Germ. skull of the helmet. - - _Schembart_, Germ. the lower part of the visor, the ventail. - - _Schenkelschiene_, Germ. see cuishe. - - _Schiavona_, It. a basket-hilted cut-and-thrust sword. - - _Schiena_, It. the back-plate of the cuirass. - - _Schiessprügel_, Germ, see holy-water sprinkle. - - _Schiniere_, It. see jambs. - - _Schioppo_, O.I. a dag or pistol, =F=. - - _Schlaeger_, Germ. student’s fencing-sword. - - _Schulterschild_, Germ. see grand-guard. - - _Schulterschild mit Rand_, Germ. a pauldron with neck-guard attached. - - _Schwanzel_, } Germ. the tail-guard of a horse. - _Schwanzriempanzer_, } - - _Schwebescheibe_, Germ. see vamplate. - - _Sciabola_, It. sabre. - - _Scudo_, It. a triangular shield. - - _Scure d’arme_, It. battle-axe. - - _Seax_, a dagger. - - _Secreta_, } a thin steel cap worn under the hat, - _Secrete_, } XVI-XVII cent. - - _Sella d’arme_, It. war-saddle. - - _Semitarge_, O.F. a scimitar, =R=. - - _Serpentina_, It. the cock of a matchlock. - - _Setzschild_, Germ. see pavise. - - _Shaffron_, see chamfron. - - _Sharfrennen_, Germ. variety of joust with sharp-pointed lances, - XVI cent. - - _Sharfrennentarsche_, Germ. a shield-like reinforcing piece for - the above joust. - - _Shell-guard_, a form of sword-guard. - - _Sfondagiaco_, It. see misericorde. - - _Sisarmes_, see gisarme. - - _Slaughsword_, a two-hand sword carried by the whiffler, IV cent. - - _Sliding rivet_, a rivet fixed on the upper plate and moving in a - slot on the lower plate. - - _Snaphaunce_, an early form of flint-lock in which the pan has to - be uncovered before firing. - - _Sockets_, a thigh-defence similar to the German diechling. - - _Soffione_, It. a musket or caliver. - - _Sollerets_, shoes of laminated plate, usually pointed. - - _Spada_, It. sword. - - _Spadone_, It. a long sword. - - _Spadroon_, flat-bladed sword for cut-and-thrust. - - _Spallacci_, It. pauldrons. - - _Spallière_, Fr. see pauldrons. - - _Spasmo_, O.It. a dart or javelin, =F=. - - _Spetum_, } see ranseur. - _Spiede_, It. } - - _Spight_, a short or flight arrow. - - _Spigo_, O.It. the plume-holder of a helmet, =F=. - - _Splint armour_, narrow overlapping plates as opposed to armour made - of large plates. - - _Spright_, a wooden arrow discharged from a gun. - - _Springal_, see espringale. - - _Spontoon_, a half-pike carried by officers, XVIII cent. - - _Squarcina_, O.It. a short sword or cutlass, =F=. - - _Staffa_, It. stirrup. - - _Standard of mail_, a collar of chain mail, XV cent. - - _Stecca_, It. the locket of a dagger. - - _Steccata_, It. the place of combat for duels. - - _Stechhelm_, Germ. heavy tilting-helm. - - _Stechen_, Germ. jousting course with coronal-tipped lances. - - _Stechtarsche_, Germ. a ribbed tilting-shield used in the “gestech” - courses. - - _Stinchieri_, O.It. armour for the shin, =F=. - - _Stirnstulp_, Germ. the upper part of the visor of an armet. - - _Stithe_, O.E. anvil. - - _Striscia_, It. rapier. - - _Sturmhaube_, Germ. see burgonet. - - _Sturmwand_, Germ. see pavise. - - _Supeters_, O.E. see sollerets. - - _Surcoat_, a garment worn over the armour to protect it from sun and - rain, and usually blazoned heraldically. - - _Sword-breaker_, a short heavy sword with back edge toothed for - breaking opponent’s sword, XVI cent. - - _Swyn-feather_, see feather-staff. - - - T - - _Tabard_, the armorially emblazoned coat worn by heralds; see also - surcoat. - - _Taces_, laminated plates at the lower edge of the cuirass. - - _Tache_, O.E. strap. - - _Talevas_, Sp. shield. - - _Tapul_, the vertical ridge in the centre of some forms of - breast-piece. - - _Tarcaire_, O.F. a quiver, =R=. - - _Targe_, a small circular shield. - - _Tarques_, O.F. some kind of engine of war, =R=. - - _Tartsche_, Germ. a small shield or targe. - - _Tartschen_, Germ. see ailettes. - - _Tassets_, plates, usually lozenge-shaped, attached by strap and - buckle to the taces to protect the upper or front surface of the - thigh. - - _Taurea_, O.It. a buckler of bull’s hide, =F=. - - _Tegulated armour_, overlapping tile-like square plates, end of - XII cent. (Meyrick). - - _Tertiare_, to “third” the pike, i.e. to shorten either for - shouldering or for receiving cavalry. - - _Tesa_, It. the shade or brim of the burgonet. - - _Tester_, O.E. } see chanfron. - _Testiera_, It. } - - _Testière_, Fr. a metal skull-cap; also the chanfron of a horse. - - _Têtrière_, Fr. see tester. - - _Thyrtel_, } O.E. knife or dagger. - _Thwyrtel_, } - - _Tilt_, the barrier used to separate knights when jousting, XIV cent. - and onwards; first, a stretched cloth; later, of wood. - - _Timbre_, Fr. the skull of a helmet. - - _Tiloles, Arbalest à_, Fr. windlass crossbow. - - _Toggle_, the cross-bar of a boar-spear. In modern use a button for - joining two ends of a strap or thong. - - _Toile_, see tilt. - - _Tolys_, O.E. tools. - - _Touch-box_, probably a box for flint and steel carried by the musket. - - _Tourney_, { a contest of many knights in the lists as opposed - _Tournois_, Fr. { to the joust or single combat at barriers. - - _Tournicle d’eschaille_, Fr. a small tunic or a large gorget composed - of overlapping scale armour. - - _Toyle_, a contrivance fixed over the right cuisse to hold the lance - when carried upright; a lance bucket. - - _Trubrico_, Sp. blunderbuss. - - _Traguardo_, It. see visor. - - _Trapper_, horse-trappings of fabric or mail. - - _Trellised armour_, quilted linen or leather with leather bands sewn - trellis-wise and having studs of metal in the trellis openings - (Meyrick). - - _Tresses_, plaited laces or arming-points. - - _Trilobed scales_, triple scales in one piece sewn upon the - brigandine. - - _Trombone_, It. a heavy pistol, blunderbuss. - - _Trousse_, Fr. a quiver. - - _Trumelière_, Fr. see jamb. - - _Tuck_, see estoc. - - _Tuile_, Fr. see tassets. - - _Tuilette_, Fr. small tassets as on tomb of Rich. Beauchamp, - Earl of Warwick. - - _Turcasso_, It. quiver. - - _Turves_, probably a turban or orle worn on the helmet. - - - U - - _Umbo_, the boss upon a shield. - - _Umbril_, the shade or brim of head-pieces of XVII cent. - - _Uncin_, war pickaxe. - - _Uncino_, O.It. a broad-pointed arrow, a hook, =F=. - - _Unterarmzeug_, Germ. vambrace. - - _Usbergo_, O.It. breastplate, vamplate, =F.= - - - V - - _Vambrace_, the plate defence for the fore-arm. - - _Vamplate_, a circular shield through which the tilting and war - lances were fixed above the grip. - - _Vedoil_, a weapon used by foot-soldiers, possibly a voulge. - - _Velette_, O.It. a horse-soldier’s coat, =F=. - - _Venetian sallad_, a sallad of the XV-XVI cent.; formed like the - ancient Greek helmet with fixed visor, but evolved from the bascinet. - - _Ventaglio_, It. } - _Ventail_, Fr. } the lower part of the visor when it is - _Ventalle_, Sp. } made in two parts. - - _Vervelles_, the staples on the bascinet to which the carvail was - laced. - - _Vireton_, an arrow for the crossbow with curving wings, to produce - a spinning motion. - - _Visera_, It. } - _Visor_, } that part of the helmet, movable or fixed, - _Vista_, Sp. } which protects the eyes. - - _Volant-piece_, reinforcing piece for the tilt to protect the breast - and lower half of the face; possibly a spring breastplate. - - _Volet_, the round disc at the back of the armet. - - _Volet_, Fr. an arrow or dart. - - _Vor-arm_, Germ. see vambrace. - - _Vorderfluge_, Germ. the front plate of the pauldron. - - _Vorhelm_, Germ. see placcate. - - _Voulge_, a weapon somewhat similar to the Lochaber axe; used mostly - by the peasants. - - _Voyders_, see gussets. - - _Voyding knife_, a knife for disembowelling deer. - - _Vuiders_, } see gussets. - _Vuyders_, } - - - W - - _Wafter_, English dummy blade for fencing, XVI cent. - - _Wambais_, see gambeson. - - _Wappen rock_, Germ. a cloak decorated heraldically. - - _Welsches gestech_, German name for the Italian course of jousting - over the tilt or barrier with blunted lance. - - _Whiffler_, a two-hand swordsman who cleared the way in processions. - - _Wifle_, a practice-sword, possibly a two-hander. - - _Winbrede_, } see gagnepain. - _Wynbred_, } - - _Wire hat_, see coif. - - - Z - - _Zucchetto_, It. a species of burgonet, XVII cent. - - _Zweyhander_, Germ. two-handed sword. - - - - -APPENDIX A - -DOCUMENT FROM THE RECORDS OF THE ARMOURERS’ COMPANY, LONDON, 1322 - - -This is a regulation that no armourer should attempt to sell -_Bascuettes_ (Bascinets) covered with fabric, but should show them -uncovered, so that the workmanship might be seen and approved. - - -ARMOURERS’ COMPANY OF LONDON - -Lib. C, fol. 33, 15 Edw. II, 1322 - - Edward ye Second - -Be it remembered that in ye hustinge of comon plaes holden ye -Mondaie in ye feaste of ye conversion of Saint Paule, ye yere of ye -reigne of our Lord ye king Edward, ye son of king Edward, xv th., -in ye presence of Sir Hamen de Chigewelle then Maior, Nicholas de -farringdon and by assent of Hugh de Auggeye, &c. Armorers. It is -was ordeyned for ye comon proffyt and assented that from henceforth -all Armor made in ye Cytie to sell be good and convenable after ye -forme that henceforth That is to saie that an Akton and Gambezon -covered with sendall or of cloth of Silke be stuffed with new -clothe of cotten and of cadar and of oldn sendal and not otherwise. -And that ye wyite acketonnes be stuffed of olde lynnen and of -cottone and of new clothe wth in and wth out. Also forasmuch as -men have founde old bascuette broken and false now newly covered -by men that nothing understand of ye mystery wh be putt in pryvie -places and borne out into ye contrye out of ye said Cytie, to sell -and in ye same citie of wh men may not gaine knowledge whether they -be good or ill, of ye wh thinge greate yill might fall to ye king -and his people, and a greate slaunder to ye Armorers aforesaid -and to all ye Cytie. It is ordeyned and assented that no Farrar -ne other man that maketh ye Irons of bascuette hereafter so to -be covered no bascuett by himself to sell be free but that he -shall sell out of his hande will open and ungarnished as men have -used before this tyme. And ye which shall abide ungarnished until -they be sene by the myor that shall be sworn or by ny of Cz’ens -whether they be convenable to garnishe or no. And there be found -in any Court of Armorers or else where in wch Court is Armor for -to sell, whatsoever it be, that is not proffytable or otherwise -than is ordeyned and none be it taken and brought before ye Maior -and Aldermen and hys Czens to be demed good or ill after their -discretion. And for the wch thing well and lawfully to be kept and -surveyed Roger Savage Willm. De Langgull, Richard Johonnez (John -Conny) being sworne. And if they myor may not attend that ij of -them Do that longeth thereto. - -Fol. 135. ffirst it is a general Article ordeyned for all ye crafte -of London and centred in ye Chamber of ye Guildhall of ye said City -in ye booke wth ye letter C in ye xxxv leaffe in ye tyme of Adam -Bury Maior, in ye yere of ye reigne of king Ed. ye thirde after ye -conquest. - -Lib. v. xd. It is ordeyned that all ye crafte of ye citie of -London be truely ruled and governed every person in his nature in -due maner so that no falsehood ne false workemanshipp nor Deceipt -be founde in no maner wise in any of ye foresaid crafte for ye -worshipp of ye good folke of all ye same crafte and for the comon -proffytt of ye people. - - - - -APPENDIX B - -REGULATIONS OF THE HEAUMERS, 21 EDWARD III, 1347 - -City of London Letter Book F, fol. cxlii - - - The Points of the Articles touching the trade of Helmetry - accepted by Geffrey de Wychingham, Mayor, and the Aldermen at the - suit and request of the folks of the said trade:-- - -In the first place that no one of the said trade shall follow -or keep seld of the trade aforesaid within the franchise of the -City of London until he shall have properly bought his freedom, -according to the usages of the said City, on pain of losing his -wares. - -Also forasmuch as heretofore some persons coming in who are -strangers have intermeddled and still do intermeddle in the making -of helmetry, whereas they do not know the trade, by reason whereof -many great men and others of the realm have been slain through -their default, to the great scandal of the said trade: It is -ordained that no person shall from henceforth intermeddle with or -work at helmetry if he be not proved to be a good, proper, and -sufficient workman by the Wardens of the said trade on pain of -forfeiture to the use of the Chamber. - -Also that three or four if need be of the best workmen of the said -trade shall be chosen and sworn to rule the trade well and properly -as is befitting for security and safety of the great men and others -of the realm, and for the honour and profit of the said City and of -the workers of the said trade. - -Also that no apprentice shall be received by any master of the said -trade for less than seven years; and that without collusion or -fraud on paying to the said Chamber 100 shillings. - -Also that no one of the said trade or other person of the Franchise -shall set any stranger to work who is of the said trade if he be -not a proper and lawful person, and one for whom the master will -answer as to his good behaviour, on pain of paying to the said -Chamber 20 shillings. - -Also that no apprentice of the said trade who shall be indebted to -his master in any sum of money at the end of his term shall serve -henceforth any other person than his own master, nor shall he -depart from such service or be into the service of another person -in any way received until he shall have fully given satisfaction -for his debt to his master. And he who shall receive in any other -manner the servant or apprentice of another person shall pay to the -said Chamber 20 shillings. - -Also that helmetry and other arms forged by the hammer which are -brought from the parts without this land beyond the seas, or -from any other place unto the said City for sale, shall not from -henceforth be in any way offered for sale privily or openly until -they have been properly assayed by the aforesaid Wardens and marked -with their mark, on pain of forfeiting such helmetry and arms to -the said Chamber as shall be so offered for sale. - -Also that each one of the makers aforesaid shall have his own mark -and sign, and that no one of them shall counterfeit the sign or -mark of another on pain of losing his freedom until he shall have -bought the same back again and made satisfaction to him whose sign -he shall have so counterfeited, and further he shall pay to the -Chamber 40 shillings. - - Wardens of the same trade chosen and sworn, - ROBERT DE SHIRWODE, - RICHARD BRIDDE, - THOMAS CANOUN. - - - - -APPENDIX C - -TREATISE OF WORSHIP IN ARMS, BY JOHAN HILL, ARMOURER TO HENRY VI, -1434 - -TRAYTESE OF THE POYNTES OF WORSHIP IN ARMES BY JOHAN HYLL, ARMORER -SERGEANT IN THE KINGE’S ARMORY 1434 - -Bod. Lib., Ashmole. MS. 856, art. 22, pp. 376-83 - - -[376] Too my leve Lordes here nowe next folowinge is a Traytese -compyled by Johan Hyll Armorier Sergeant in the office of Armory -wt. Kinges Henry ye 4th and Henry ye 5th of ye poyntes of Worship -in Armes and how he shall be diversely Armed & gouverned under -supportacion of faveur of alle ye Needes to coverte adde & amenuse -where nede is by the high comandement of the Princes that have -powair so for to ordeyne & establishe - -The first Honneur in Armes is a Gentilman to fight in his Souverain -Lords quarell in a bataille of Treason sworne withinne Listes -before his souverain Lorde whether he be Appellant or Defendant ye -honneur is his that winneth ye feelde. - -As for the appellant thus Armed by his owne witte or by his -counsaille wch is assigned to him before Conestable & Marchall ye -wch Counsaille is ordeyned & bounden to teche hym alle maner of -fightynge & soteltees of Armes that longeth for a battaile sworne - -First hym nedeth to have a paire of hosen of corde wtoute vampeys -And the saide hosen kutte at ye knees and lyned wtin wt Lynnen -cloth byesse as the hose is A payre of shoen of red Lether thynne -laced & fretted underneth wt whippecorde & persed, And above -withinne Lyned wt Lynnen cloth three fyngers in brede double & -byesse from the too an yncle above ye wriste. And so behinde at ye -hele from the Soole halfe a quarter of a yearde uppe this is to -fasten wele to his Sabatons And the same Sabatons fastened under -ye soole of ye fote in 2 places hym nedeth also a petycote of an -overbody of a doublett, his petycote wt oute sleves, ye syses of -him 3 quarters aboute wt outen coler. And that other part noo -ferther thanne [377] ye waste wt streyte sieves and coler and -cutaine oylettes in ye sleves for ye vaunt bras and ye Rerebrase - -Armed in this wise First behoveth Sabatouns grevis & cloos quysseux -wt voydours of plate or of mayle & a cloos breche of mayle wt -5 bokles of stele ye tisseux of fyne lether. And all ye armyng -poyntes after they ben knytte & fastened on hym armed that ye -poyntes of him be kutte of - -And thanne a paire of cloos gussetts strong sclave not drawes and -thatye gussets be thre fingers withinne his plates at both assises -And thanne a paire of plattes at xx li lib weight his breste & his -plats enarmed to ... wt wyre or wt poyntes. A pair of Rerebraces -shitten withinne the plates before wt twi forlockes and behinde wt -thre forlocks. A paire of vaunt bras cloos wt voydours of mayle & -fretted. A pair of gloves of avantage wche may be devised. A basnet -of avauntage for ye listes whiche is not goode for noon other -battailles but man for man save that necessitie hath noo lawe, the -basnet locked baver & vysour locked or charnelled also to ye brest -& behynde wt two forlockes. And this Gentilman appellent aforesaide -whanne he is thus armed & redy to come to ye felde do on hym a cote -of armes of sengle tarten ye beter for avauntage in fighting. And -his leg harneys covered alle wt reed taritryn the wche ben called -tunictes for he coverynge of his leg harneys is doen because his -adversarie shal not lightly espye his blode. And therefore also -hen his hosen reed for in alle other colours blode wol lightly -be seyne, for by the oolde tyme in such a bataile there shulde -noo thing have be seyn here save his basnett & his gloves. And -thanne tye on hym a payre of besagewes. Also it fitteth the [378] -foresaide counsaille to goo to ye kyng the daye before ye bataille -& aske his logging nigh ye listes. Also ye foresaide Counsaille -must ordeyne hym the masses ye first masse of ye Trinitie ye -seconde of ye Holy Goste & ye thirde of owre Ladye or elles of what -other sainte or saintes that he hath devocion unto - -And that he be watched alle that night ... hym that he is watched -and light in his Chambre alle that night that his counsaille may -wite how that he slepeth. And in ye mornyng whanne he goeth to his -Masses that his herneys be leyed at ye North end of ye Auter and -covered wt a cloth that ye gospell may be redde over it and at ye -laste masse for to be blessed wt ye preist and whanne he hath herde -his Masses thanne to goo to his dyner. And soo to his Armyng in -ye forme aforesaide. And whanne he is armed and alle redy thanne -to come to ye feelde in forme to fore rehersed, thanne ... his -counsaille bounden to counsaille hym & to teche hym how he shal -gouverne hym of his requests to ye kyng or he come into ye feelde -and his entrie into ye felde and his gouvernance in the feelde -for ye saide Counsaille hath charge of hym before Constable and -Mareschal til that Lesses les aller be cryed. The whiche requestes -ben thus that ye saide Appellant sende oon his counsaille to the -kyng for to requeste hym that whanne he cometh to ye barrers to -have free entrie wt his counsaille Confessour & Armorers wt alle -maner of Instruments wt breede & wyne hymself bringing in in an -Instrument that is to saye a cofre or a pair of bouges. Also their -fyre cole & belyes and that his chayre wt [379] certaine of his -Servants may be brought into ye feelde and sette up there the houre -of his comyng that it may cover hym and his counsaille whanne he is -comen into ye feelde this forsaide gentilman Appellant comyng to -ye Listes whether he wol on horsebak or on fote wt his counsaille -Confessour & other Servaunts aforesaide havyng borne be fore hym -by his counsaille a spere a long swerde a short swerde & a dagger -fastined upon hymself his swerdes fretted and beasagewed afore ye -hiltes havyng noo maner of poyntes for and ther be founden that -day on hym noo poyntes of wepons thanne foirre, it shall tourne -hym to gret reproof. And this gentilman appellant that come to ye -barrers at ye Southeest sone, his visier doune And he shal aske -entrie where shal mete hym Constable and Mareschal and aske hym -what art thou. And he shal saye I am suche a man & telle his name -to make goode this day by ye grace of God that I have saide of -suche a man and tell hys name bifore my Souain Lord and they shal -bidde hym putte up his visier and whanne he hath put up his visier -they shal open the barrers and lette hym inne and his counsaille -before hym & wt hym his Armorers & his servaunts shal goo streight -to his chayer wt his breed his wyne & alle his instruments that -longe unto hym save his weppons. And whanne he entreth into the -felde that he blesse hym soberly and so twys or he come to before -his Souverain Lord And his Counsailles shall do thair obeisaunce -before thair souverain Lord twys or they come to the degrees of -his scaffolde and he to obeye him wt his heed at both tymes Then -whanne they to fore thair souverain Lord they shal knele a downe -and he also they shal aryse or he aryse he shal obeye hym at his -heed to his souverain Lord and then aryse and whanne he is up on -his feete he shal blesse hym and turne hym to his chayre and at the -entryng of his chayr [380] soberly tourne hym his visage to his -souverain Lord wards and blesse hym and thanne tourne hym againe -and soo go into his chayre and there he maye sitte hym downe and -take of his gloves and his basnet and so refresh hym till the houre -of hys Adversarie approche wt breed and wyne or wt any other thing -that he hath brought in wt hym. And whanne the Defendaunt his -Adversarie cometh in to the feelde that he be redy armed againe or -that he come into the feelde standing withoute his chayre taking -hede of his Adversaries comyng in and of his countenance that he -may take comfort of. And whanne the defendant his Adversarie is -come int ye felde and is in his chayre thanne shal the kyng send -for his wepons and se him and the Conestable and the Marschal also -and if they be leefull they shal be kept in the feelde & kutte -the same day by ye comaundement of the kyng and the Conestable -and Mareschal in ye kynge’s behalve. And thanne fitteth to the -foresaide counsaille to arme hym and to make hym redy against that -he be called to his first ooth and whanne he is called to his -first oothe thanne fitteth it to alle his counsaille to goo wt hym -to his first ooth for to here what the Conestable and Mareschal -seyen unto hym and what contenaunce he maketh in his sweryng And -whanne he hath sworne they shl ryse up by ye comaundement of the -Conestable and Mareschal. And whanne he is on his feete he shal -obey hym to his Souverain Lord and blesse hym and thanne turne hym -to his chayre his visage to his souveraine Lord wards and in his -goinge blesse hym twys by ye weye or he come to his chayre. And at -ye [381] entryng to his chayre soberly tourne hym his visage to his -Souverain Lord wards and blesse hym and soo go into his chayre. -Thanne fitteth it to his fore saide Counsaille to awayte where -the defendaunt shal come to his first ooth and that they be ther -as sone as he for to here how he swereth for he must nedes swere -that al that ever th appellant hath sworne is false substance and -alle. And if he wol not swere that every worde & every sillable -of every worde substance and alle is false the Counsaille of ye -saide appellant may right wisly aske jugement by lawe of Civile and -raison of Armes forafter ye juge is sette there shulde noo plee be -made afore hym that daye. - -And if so be that the Defendant swere duly thanne ye Counsaille of -the foresaide Appellant shal goo to his chayre agayne and abide -ther til they be sent for. And thanne shal they bringe hym to hys -second Ooth and here how he swereth and whanne he hath sworne they -shal goo wt hym to hys chayre againe in the forme aforesaide. And -whanne he is in his chayre the saide Counsaille shal awayte whanne -ye Defendaunt cometh to his seconde ooth and here how he swereth -and if he swere under any subtil teerme cantel or cavellacion the -foresaide Counsaille of th appellant may require the jugement. -And if he swere duely thanne shal ye Counsaille of ye foresaide -Appellant goo to his chayre againe and abide there til they be -sent for. And thanne shal they brynge hym to his thirde ooth -and assuraunce. And whanne they be sworne and assured the saide -appellant wt his Counsaile shal goo againe to his chayre in the -fourme afore saide and there make [382] hym redy and fastene upon -hym his wepons and so refresche hym til ye Conestable and Mareschal -bid hym come to ye feeld. Thanne shal his Armorers and his -Servaunts voyde the Listes wt his chayre and alle his Instruments -at ye Comandement of ye Conestable and Mareschal. Thanne fitteth it -to the Counsaille of the saide Appellant to ask a place of ye kyng -afore hym withinne the barres upon his right hande that ye saide -Counsaille of th appellant may come and stande there whanne they be -discharged of ye saide Appellant. - -The cause is this that suche pyte may be given to ye kyng if God -that noon of hem shal dye that daye for he may by his prowaie royal -in such a cas take it into his hande the foresaide Counsaille of -the Appellant to abyde in the saide place til the kyng have geven -his jugement upon him--And thanne ye Conestable and Mareschal shal -deliwer the foresaide Appellant by ye Comandement of the kyng to -his foresaide Counsaille to govern hym of his going out of ye -feelde as wele as they did of his comyng in his worship to be -saved in al that lyeth en hem. And soo to bryng hym to his Logging -agayne to unarme hym comforte hym and counsaille hym And some of -his Counsaille may goo to the kyng and comon wt hym and wite of the -kyng how he shal be demeaned. This enarmyng here aforesaide is best -for a battaille of arreste wt a sworde a dagger an Ax and a pavys -til he come to th asseblee his sabatons & his tunycle evoyded And -thanne the Auctor Johan Hyll dyed at London in Novembre the xiii th -yere of kyng Henry the Sixt so that he accomplished noo mor of ye -compylyng of this [383] trayties on whose soulle God have mercy for -his endles passion Amen. - - - - -APPENDIX D - -TRAITÉ DU COSTUME MILITAIRE, 1446 - -_Bib. Nat., Paris_ (fonds Français, 1997) - -Given in full in _Du Costume Militaire des Français en 1446_, René -de Belleval, 1866 - - -Mais quant à la faczon de leur harnoys de jouste, suis content de -le vous déclairer plus largement, affin que pour lavenir ceulx qui -voudront jouster y preignent exemple, soit de y adjouster ou de y -oster, comme mieulx verront et congnoisteront y estre nécessaire. - -Et tout premièrement vueil commancer au harnoys de teste, cest -assavoir au heaume, lequel est fait en ceste faczon, comme cy après -me orrez déclairer; et premièrement lesdiz heaumes sont, sur le -sommet de la teste jusques à la veue, fors et espes et ung pou sur -le rondelet, par faczon que la teste ne touche point encontre, -ainçois y peut avoir espace de troiz doiz entre deux. - -Item, de dessobz de la veue du heaume, qui arme par davant tout le -visaige depuis les deux aureilles jusques à la poitrine et endroit -les yeulx qui s’appelle la veue, avance et boute avant troiz bons -doiz ou plus que n’est le bort de dessus; entre lequel bort de -dessus et celuy de dessobz ny a bonnement despace que ung bon doy -et demy pour y povoir veoir, et n’est ladicte veue, tant dun cousté -que dautre, fendue que environ dun espan de long, mais voulentiers -vers le cousté sénestre est ladicte veue plus clouse et le bort -plus en bouty dehors que n’est de lautre costé droict. - -Item, et ledit dessobz ladicte veue marche voluntiers sur la pièce -de dessus la teste deux bons doiz, tant dun cousté que dautre de -la veue, et cloué de fors clox qui ont les uns la teste enbotie, -et les autres out la teste du clou limée affin que le rochet ny -prengne. - -Item, la pièce dessusditte qui arme le visaige est voluntiers large -et destendant presque dune venue jusques à la gorge, ou plus bas, -affin quelle ne soit pas si près des visaiges quant les cops de -lance y prennent. Ainçois qui le veult faire à point fault quil -y ait quatre doiz despace du moins entre deux. Et à ceste dicte -pièce, du costé droict de la lance, endroit la joue, deux ou trois -petites veues qui viennent du long depuis le hault de la joue -jusques au collet du pourpoint, affin que l’en nait schault dedens -le heaulme, et aussi affin que on puisse mieulx ouir ou veoir celuy -qui le sert de la lance. - -Item, l’autre pièce dudit heaume arme depuis les aureilles par -darrière le long du coul jusques trois doiz sur les espaulles par -bas, et par hault, aussi jusques à trois doiz sur la nuque du coul. -Et vient faczonnée une arreste aval qui vient en estroississant sur -le collet du pourpoint, et se relargist sur les espaulles en deux; -laquelle pièce dessusdicte nest jamais faicte forte ne espesse, -ainçois la plus legière que on la peult faire est la meilleure; et -pour conclusion faire ces trois pièces dessusdictes font le heaulme -entier. - - * * * * * - -Item, quant à larmeure du corps, il y en a de deux faczons; cest -assavoir: la première comme curasse à armer saufve que le voulant -est clox et arresté à la pièce, par faczon que le voulant ne peut -aller ne jouer hault ne bas. - -Item, lautre faczon est de brigandines ou aultrement dit -currassines, couvertez et clouées par pièces petittes depuis la -poitrine en a bas, ne ny a aultre différance de celle cy aux -brigandines que on porte en la guerre, sinon que tout ce que -contient la poitrine jusques aux faulx est dune seulle pièce et -se lace du costé de la main droite ou par darrière du long de -leschine. Item, larrest est espès, grox et matériel au plaisir de -celui qui le fait faire. - -Item, oudit harnoys de corps y a principallement deux boucles -doubles, ou une boucle double et ung aneau limé, ou meilleu de -la poitrine, plus hault quatre doiz que le faulx du corps, et -lautre du cousté sénestre longues; de lautre ung pou plus haulte: -lesquelles deux boucles ou aneau sont pour atacher ledit heaume -à la curasse ou brigandine; cest assavoir: la première sert pour -metre une tresse ou corroye oudit heaulme à une autre pareille -boucle comme celle là, qui est oudit heaume clouée sur la pate -dudit heaume davant le plus à lendroit du meillieu du travers que -len peult, et out voulentiers lesdictes tresses et couvertures -de cueur trois doubles lun sur lautre; lautre seconde boucle ou -aneau à main sénestre respont pareillement à une aultre boucle -ou aneau qui est oudit heaulme à la sénestre partie sur la pate -dudit heaulme; et ces deux boucles ou aneaux sénestres servent -espéciallement pour la buffe, cest assavoir que quand le rochet -atache (_a touché_) sur le hault de lescuczon ou heaume, ceste -tresse ou courroye dessusdicte garde que le heaulme ne se joigne à -la joe sénestre par la faczon que ledit jousteur en puisse estre -depis. - -Item, en ladicte brigandine ou curasse y a en la senestre partie en -la poitrine, près du bort du braz senestre, à ung doy près endroit -le tour du braz hault, troiz doiz plus bas que la boucle de quoy -on lasse ladicte brigandine sur lespaulle, ung crampon de fer du -gros dun doy en ront, dont les deux chefz sont rivez par dedens -et ladicte pièce au mieulx quil se puet faire, et dedens dudit -crampon se passe deux ou trois tours une grosse tresse bonne et -forte qui depuis passe parmy la poire, laquelle poire est assise et -cache ledit crampon; de laquelle poire la haulteur est vouluntiers -dun bon doy, sur laquelle lescu repose, et est ataché par lesdits -pertuys dudit escu de la tresse qui est atachée audit crampon, -laquelle sort par le meilleu de ladicte poire. - -Item, en ladicte curasse y a darrière, ou meilleu du creux de -lespaulles, une boucle ou aneau qui sert pour atacher une tresse ou -courroie à une autre boucle du heaulme darrière, si que le heaulme -ne chée davant, et affin aussi que la veue soit de la haulteur et -demeure ferme que le jousteur la vieult. - -Item, oultre plus en ladicte curasse y a ung petit aneau plus has -que nul des aultres, assis plus vers le faillement des coustez à la -main sénestre, auquel len atache dune aultre legière tresse la main -de fer, laquelle main de fer est tout dune pièce et arme la main et -le braz jusques troiz ou quatre doiz oultre le code. - -Item, depuis le code jusques au hault, cache (_cachant_) tout -le tour de lespaulle y a ung petit garde braz dune pièce, et se -descent jusques sur le code quatre doiz. - -Item, à la main droite y a ung petit gantellet lequel se appelle -gaignepain; et depuis le gantellet jusques oultre le code, en lieu -de avant braz, y a une armeure qui se appelle espaulle de mouton, -laquelle est faczonnée large endroit le code, et se espanouist -aval, et endroit la ploieure du braz se revient ploier par faczon -que, quant len a mis la lance en larrest, laditte ploieure de -laditte espaulle de mouton couvre depuis la ploieure du braz ung -bon doy en hault. - -Item, pour armeure de lespaulle droite y a ung petit garde braz -fait à lames, sur lequel y a une rondelle joignant une place, -laquelle rondelle se haulse et se besse quant on vieult metre la -lance en larrest, et se revient recheoir sur la lance quant elle -est oudit arrest, par telle faczon quelle couvre ce que est désarmé -en hault dentre la lance et ledit garde braz. - -Item, aussi oudit royaulme de France se arment de harnoys de jambes -quant ilz joustent. - -Item, quant à la faczon des estacheures dudit harnoys par bas, -si que il ne sourmonte point encontremont par force des copz, je -men passe à le déclairer pour le présent, car il y en a pluseurs -faczons. Ne aussi daultre part ne me semble pas si quil se doye -divulguer si publicquement. - -Item, quant est des lances, les plus convenables raisons de -longueur entre grappe et rochet, et aussy celles de quoy on use -plus communuement est de treze piez ou de treze piez et demy de -long. - -Item, et lesdiz rochez sont vouluntiers de ouverture entre chascune -des trois pointes de deux doiz et demy ou trois au plus. - -Item, lesdictes grappes sont voulentiers plaines de petittes -pointes agues (_aiguës_) comme petiz dyamens, de grosseur comme -petittes nouzilles, lesquelles pointes se viennent arrester dedens -le creux de larrest, lequel creux de larrest plain de bois ou de -plomb affin que lesdittes pointes ne puissent fouir, par quoy -vient ladicte lance à tenir le cop: en faczon quil fault que elle -se rompe en pièces, que len assigne bien ou que le jousteur ploye -leschine si fort que bien le sente. - -Item, les rondes dessusdictes lances ne couvrent tout autour au -plus aller que ung demy pié, et sont vouluntiers de trois doiz -despès de bourre feutrée entre deux cuirs, du cousté devers la main -par dedens. - -Et oultre plus pour faire fin à la manière que len se arme en -fait de jouxtes ou pais et contrée que jay cy desous déclaié, ne -diray aultre chose pour le présent, sinon que ung bon serviteur -dun jousteur doit regarder principallement trois choses sur son -maistre avant quil luy donne sa lance; cest assavoir que ledit -jousteur ne soit désarmé de nulles de ses armeures par le cop -précédent; laultre si est que ledit jousteur ne soit point estourdy -ou méhaigné pareillement par ledit cops précédent quil aura eu; le -tiers si est que ledit serviteur doit bien regarder sil y a autre -prest sur les rengs qui ait sa lance sur faulte, et prest pour -jouster contre sondit maistre, affin que sondit maistre ne tienne -trop longuement sans faire course la lance en larrest, ou quil ne -face sa course en vain et sans que autre vienne à lencontre de luy. - - - - -APPENDIX E - -EXTRACTS FROM THE ORDINANCES OF THE ARMOURERS OF ANGERS - -STATUTS DES ARMURIERS FOURBISSEURS D’ANGERS, 1448 - - -1. Quiconque vouldra estre armurier ou brigandinier, fourbisseur et -garnisseur d’espées et de harnois ... faire le pourra.... - -2. It. les quels maistres desd. mestiers seront tenus besoigner -et faire ouvrage de bonnes étoffes, c’est assavoir pour tant -que touche les armuriers, ils feront harnois blancs pour hommes -d’armes de toute épreuve qui est à dire d’arbalestes à tilloles -et à coursel a tout le moins demie espreuve, qui est a entendre -d’arbaleste a crocq et traict e’archiers, et pour tant que touche -les brigandiniers ils seront tenus pareillement faire brigandines, -c’est assavoir les plus pesantes de 26 à 27 livres poix de marc -tout au plus, tenant espreuve d’arbaleste a tillolles et marquées -de 2 marques, et les moindres de 18 a 20 livres, tel poix que -dessusu et d’espreuve d’arbaleste a crocq et traict d’archier, -marquées d’une marque. Et seront icelles brigandines d’assier, -trampees partout et aussi toutes garnies de cuir entre les lames -et la toile, c’est assavoir en chacune rencontre de lames, et ne -pourront faire lesd. brigandines de moindre poix de lame.... - -3. It. et fauldra qe lesd. lames soient limees tout a l’entour a ce -que tes ettoffes durent plus largement.... - -10. Que las marchans et ouvriers desd. mestiers, tant faiseurs -d’espées, haches, guysarmes, voulges, dagues et autres habillemens -de guerre, seront tenus de faire tout ouvrage bon, loyal, et -marchant. - -11. It. que tous fourbisseurs et garnisseurs d’espées, tant vielles -que neuves, seront tenus de faire fourraux de cuirs de vache et de -veau, et les jointures de cuir de vache, la poignee d’icelles nouee -de fouer [fouet?] et se aucunes poignées sont faictes de cuir, -icelles poignées seront garnies de fisselles par dessouez, led. -cuir. - -12. Et pareillement les atelles des fourreaux seront neufvs et de -bois de fouteau sec.... - -18. It. que nuls marchans ne maistres forains ne pourront tenir -ouvrouers ne boutiques de harnois, brigandines, javelines, lances, -picques ne espees, ne choses deppendantes desd. mestiers en ceste -ville s’ils ne sont maistres en cette ville. - - _Ordonn. des rois_, T. XX, p. 156, etc. - - -AGREEMENT TO SUPPLY ARMOUR BY FOREIGN ARMOURERS IN BORDEAUX - -1375. Conegude cause sie que Guitard de Junquyères, armurer de -Bordeu, Lambert Braque, d’Alemaine, armurer de cotes de fer, -reconegon e autreyan e en vertat confessan aver pres e recebut -de la man de Moss. de Foxis 100 florins d’aur d’Aragon, per los -quans lo prometan e s’obligan aver portat a Morlaas 60 bacinetz ab -capmalh e 60 cotes de fer o plus si plus poden, boos e sufficientz. - - _Arch. des B. Pyrénées_, E, 302, fol. 129. - - -PERMISSION GRANTED BY LOUIS XI TO FOREIGN ARMOURERS TO PRACTISE IN -BORDEAUX FOR TWENTY YEARS - -1490. Sachent tous ... que cum le temps passe de 6 ans ou environ -Estienne Daussone, Ambroye de Caron, Karoles et Glaudin Bellon -natifs du pays de Mylan en Lombardie et Pierre de Sonnay natif de -la duché de Savoye, les quels ce fussent associés, acompaignés et -adjustez entre eulx l’un avecques l’autre, de faire leur résidence -pesonnelle et continuelle a ouvrer et trafiquer du mestier de -armurerie et pour l’espace de 20 ans ou environ.... - - _Min. dec. not. Frapier, Arch. de la Gironde, Rev. d’Aquitaine_, - XII, 26. - - - - -APPENDIX F - -EXPENSES OF THE ROYAL ARMOURIES, _TEMP._ HENRY VIII - -Brit. Mus., Cotton., Appendix XXVIII, f. 76 - -1544 - - -The charges of the king’s own armoury accounting the Master of the -Armourie’s fee, the Clerk & Yeoman’s wages and 5 armourers for his -Highness’ own person with 1 Gilder 2 Lockyers, 1 Millman and a -prentice, in the year. - - In primis the Master of the Armouries fee by the year - and is paid by the Customer of Cichister’s hands xxxi xi - - Item the Clerk and Yeoman both, for their wages 22/- - the month apiece and is paid by the Treasurer of - the Chamber by the year xxviii xii - - Item Erasmus the chief Armourer hath for his wages - by the month 26/8 and is paid by the said Treasurer xvii vi viii - - Item Old Martyn hath 38/10 the month which is by the - year xxv v x - - Item Mathew Dethyke hath 24/- the month which is - by the year xv xii - - Item Hans Clinkedag hath 24/- the month which is by - the year xv xii - - Item Jasper Kemp hath 24/- the month which is by - the year xv xii - - Item the Gilders wages by the year xl - - Item the 2 Lockyers have 20/- a month apiece which - is by the year xxvi - - Item 1 Millman 24/- a month which is by the year xv xii - - Item for the prentice 6d. for the day ix x - - Item for 8 bundles of steel to the said armoury for - the whole year 38/- the bundle xv iiii - - Item for the costs of the house at £7 0 0 the month - which is by the year xxiiii xi - ---------------- - c. li. s. d. - - Sm. iii viii viii iiii - - In primis the wages of 12 armourers, 2 locksmiths and - 4 prentices to be divided into two shops, every of - the Armourers their wages at 24/- the month and - the Locksmiths at 20/- a month and every prentice - 6d. the day amounteth by the year to clv xii - - Item the wages of 2 millmen at 24/- the month xxxi iiii - - Item to every of the said shops 4 loads of charcoal a - month at 9/- the load xlvi xix - - Item for 16 bundles of steel to serve both shops a - whole year at 38/- the bundle xxx viii - - Item 1 hide of buff leather every month for both shops - at 10/- the hide vi x - - Item for both shops 1 cowhide a month at 6/8 the hide iiii vi viii - - Item one 100 of iron every month for both shops at - 6/8 the 100 iiii vi viii - - Item in wispe steel for both shops every month 15 4⅛ - at 4d. the lb. lxv - - Item in wire monthly to both shops 12 lb. at 4d. lb. lii - - Item in nails & buckles for both shops monthly 5/- lxv - - Item to every of the said Armourers Locksmiths & - Millmen for their liveries 4 yards broad cloth at 5/- - the yard and 3 yards of carsey at 2/- the yard which - amounteth in the year for 12 armourers 2 Locksmiths - and 2 Millmen at 26/- for a man xx xvi - - So that these 12 armourers 2 Locksmiths 2 Millmen - and 4 prentices will make yearly with the said 16 - bundles of steel and the other stuff aforesaid 32 - harnesses complete, every harness to be rated to the c xx - kings Highness at £12 0 0 which amounteth in the iii iiii - year towards his Grace’s charge iiii - - Item of the said Armourers to be divided into 2 shops - as is aforesaid 4 of them shall be taken out of - Erasmus’ shop wherein his Grace shall save yearly - in their wages and living the sum of lxviii - - - - -APPENDIX G - -PETITION OF THE ARMOURERS OF LONDON TO QUEEN ELIZABETH - -July 13th, 1590 (Lansdowne MS. 63, 5) - - - To the Right Honourable the Lords & others of the Queens Most - honourable Privie Counseil. - -In most humble wise shew & beseche your honours your poor -suppliants the Armourers of London that whereas we having been -at great charges these six or seven years as well in making & -providing tools & instruments as in entertaining and keeping of -foreign men from beyond the seas to learn & practice the making of -armour of all sorts which by the goodness of God we have obtained -in such sort that at this time we make not onlie great quantitie -But also have farre better armors than that wch cometh from beyond -the Seas as is sufficiently proved, and fearing that for lack of -sale and utterance of the same we shall not be able to keep & -maintain the number of our apprentices & servants which are vy -well practised in making of all sorts of armors. Our humble suite -therfore to yr honors is that it shall please you to be a means to -Her Mtie that we may be appointed to bring into her Mties Store -at reasonable prices monthly or quarterly the Armor that we shall -make till Her Mties Store shall be furnished with all sorts of -Armor in such numbers as Her Mtie shall think good & appoint. And -we and our posterity shall not only pry for your Honors but also -being strengthened by your Honors we do not doubt to serve this -land of Englishe Armor in future years as well as it is of Englishe -Calyvers and muskets wch within this thirtie years or thereabouts -was servd altogether with Outlandish peces with no money in respect -of those wch are now made in this land, And we are the more bould, -to make this our sute to your Honors because it is not a particular -Comoditie to us but a benefit to the whole land as may be proved by -these reasons viz: - -1. Armour made in this land being not good, the makers may be -punished by the laws provided for the same. - -2. It is a means to set a great number of Her Majesty’s subjects on -work in this land, which now setteth a great number of foreigners -on work in other lands. - -3. It will furnish the land with skillfull men to make and fit -armour to men’s bodies in far better order than it hath been -heretofore. - -4. We shall be provided within this land of good armour, what -restrayntments or quarrels so ever be in other lands, whereas -hertofore we have been beholding to other countries for very bad -armour. - -5. We shall be free from all those dangers that may ensue by the -number of bad and insufficient armour which are brought into this -land by unskilfull men that know not what they buy and sell it -again to them that know not where to have better for their money -although they know it to be very bad. - -Her Majesties armories at this parte are very weakly furnished and -that wch remaynes is neither good in substance nor yet in fashion. -So as if it might stande in wth yor. LL. good liking it is very -needfull the same should be supplied wth better choise. - -The armor that is here made is accompted far better than that wch -cometh from beyond the Seas and would well servi for he Mties store -So as it might be delivered in good tyme wch the Armorers will -undertake to prove but the armor wch they make is wholly blacke, -so that unless they will undertake to serve white wth al it will -not be so serviceable. The proportion that shall be delivered I -refer to yor ll. consideracion theire offer is to deliver to the -number of eight thousand wth in fyve yeres and so after a further -proporcion it so shall seem good to yor LL. Theire severll prices -are hereunder written wch is as lowe as can bring it unto. - - Launce armor compleat iii li vi s. viii d. - Corslets compleate xxx s. - Curate of proofe wth poldrons xl s. - Ordinary curate wth poldrons xxvi s. viii d. - Target of proofe xxx s. - Murrions iii s. iiii d. - Burgonetts iiii s. - -Endorsed the humble petition of the Armorers of London. - - It is signed by RICHARD HARFORD. - JOHN SEWELL. - RICHARD WOODE RW. - WM. PICKERING. 13 July 1590. - Lee to inform. - - - - -APPENDIX H - -UNDERTAKING OF THE ARMOURERS’ COMPANY OF LONDON TO MAKE CERTAIN -ARMOURS EVERY SIX MONTHS AND THE PRICES OF THE SAME - -From records of the Company dated 17th March, 1618 - - -The Privy Council on the 15th of March, 1618, made inquiry:-- - -“Who be the ingrossers of Plate to make Armor in London, and -secondly what is the reason of the scarcity of Armor, and how it -may be remedied?” - -The Company agreed to the following answer being sent:-- - -“That concerning the first we know no ingrossers of such Plate and -we have called to our Hall all the workmen of Armor in London and -we find them very few, for that in regard of the long peace which, -God be thanked, we have had, they have settled themselves to other -trades, not having imployment for making of Armor, nor the means -to utter the same if they should make it, for the remedy of which -scarcity, if it please the Privy Council to take order that the -Armorers’ work to be by them made in London, may be taken and paid -for at every six months’ end. They will undertake, if continually -employed, to use their best means for provision of stuff to make -armor in every six months to furnish One hundred Lance Armor, Two -hundred Light Horsemen’s Armor, and Two hundred Footmen’s Armor at -such rates and prices as followeth.” - - The Lance Armor, containing Breast, Back, Gorget, Close Head piece, - Poulderons and vambraces, Gushes, and one Gauntlett, to colored - Russet, at the price of £4 0 0 - - The Light Horseman’s Armor being Breast, Back, Gorgett a barred - Head piece, Pouldrons, and an Elbowe Gauntlett, to be Russet, at - the price of £2 10 0 - - The Footman’s Armor, containing Breast, Back, Gorgett, head - piece, and laces, with iron joints, to be colored russet, at the - price of £1 10 0 - - - - -APPENDIX I - -PROCLAMATION AGAINST EXCESSIVE USE OF GOLD AND SILVER FOLIATE, -WHICH IS TO BE CONFINED TO ARMOUR AND ENSIGNS OF HONOUR - -S.P.D. Jac. I, cv, February 4th, 1618. Procl. Collec. 65 - - -... and furthermore the better to keepe the gold and silver of -this kingedome not onely within the Realme from being exported, -but that it may also bee continued in moneys and coyne, for the -use and commerce of his Majestie and his loving subjects and not -turned into any dead masse of Plate nor exhausted and consumed in -vanities of Building and pompous use of Gold and Silver Foliate -which have beene in the Reignes of divers kings of this Realme -... and the better to prevent the unnecessary and excessive waste -of Gold and Silver Foliate within this realeme; His Majestie doth -likewise hereby prohibit and forbid That no Gold or Silver Foliate -shall be from henceforth wrought, used or imployed in any Building, -Seeling, Waniscot, Bedsteds, Chayres, Stooles, Coaches or any other -ornaments whatsoever, Except it be Armour or Weapons or in Armes -and Ensignes of Honour at Funerals. - - Feb. 4, 1618. - - - - -APPENDIX J - -ERECTION OF PLATING-MILLS AT ERITH BY CAPT. JOHN MARTIN - -1624 - -State Papers Domestic, Jac. I, Vol. CLXXX, 71 - - -King Henry the eight being resolved to have his armorye alwayes -stronge and richly furnished wt thirtie or fowertie thousand armes -to be in Rediness to serve all the necessities of th times (how -suddaine so evr) caused a batterie mill to be built at Detford nere -Grenew^{ch} for the batteringe of plaetes for all sorts of armes -but dyed before the bsiness was perfected. - -In the time of Queen Elizabeth Captain John Martin and myself -resolvinge on endeavors to the furtheringe so good a worke resolved -y^t I should go to Inspurge wch is uppon the Germaine Alpes and -into Lukland likewise to bring over into England seven or eight -plaeters, the beste that might be found (wch was donne to ow^r very -great chardges) and i[=m] ediately ther upp[=o] fallinge to worke -in a batterie mill wch we likewise erected nere unto Erith in Kent -and in y^t place wrought as many plates of all sorts as served -very nere for twentie thousand armors and targets never having the -misterie of plaeting mills in England before. All wch plaeters -formerly brought over are now dead save one, and he of so cunninge -and obstinate a disposition that he would nev^r yet be brought to -teach any Englishman the true misterie of plaeting unto this day. - -The beste plaetes that have been formerly knowen to be in -Christendome have been made of Inspurg stuff wch place hath -continually served Milan Naples and other nations, and latelie -England also, wch place beinge so remote and in the Emperor his -owne countrie, it is not possible that wth any conveniencey any -stronge plaetes can be now bought from thence as formerly we -have had. But if his Ma^{tie} will be plesed to have his armorie -continually furnished wth thirtie or fortie thousand armes or more -to what number he shall be beste plesid as hath been the course -and resolution of his Roiall pdecessors, y^t may now be done wth -Englishe Irone, by a misterie yet unknown, either to smolten -plaetes or armour and to be of such strength and lightnes, for the -ease and pservation of the life of the souldier as none can be -better found in any nation in Christendome from the pistole to the -musket. - -It hath been observed in all antient histories and in the rule of -our later moderne wars, that the goodness strength and lightness -of armes hath been so great an incoradgement unto the souldier as -hath made him stand faste in the time of great and strong chardges -of the enemye, and to give valiant and couradgeous chardges, and -assaults when they have been assured of the strength and goodness -of theyre armes. - -The raetes for Plaetes and armors exactly examined for the prices -the strength and lightness considered are thus reduced. - - The chardge of a tun of Armor plaetes £18 0 0 - Two chaldron of coles wt. carriage will be 1 12 0 - The workmen for battering this tun of plaetes will have - uppon every hundred 4/- 4 0 0 - Reparation weekly for the mill 12 0 - A clarke’s wages weekly 12 0 - Extraordinary chardges toe & froe for carridges 10 0 - ---------- - These particular chardges come to £25 6 0 - -The true chardge of all such sorts of armor as they will stand you -in wt. their severall [=p]portions and such apporveable goodness as -we never heretofore have had. - - Sixe hundred of iron will make five hundred of plaetes - wch. will be a skore of ordinary curatts of pistoll - proofs wch. cometh toe wth pouldrons 5 10 0 - The Armourers may make them wt due shape black - nayle and lether them for 7 10 0 - These twentie armours will yeild 26 0 0 - So in these twentie armours is clerely gained the - sum of 13 0 0 - Fower hundred of plates will make 20 paier of curatts - wt out pouldrons 3 12 0 - The Armorers may [=p]portion them, black lether & naile - them for 6 0 0 - These 20 paire of curatts will yeld 20 0 0 - In these 20 paire of curatts is clerely gained 10 8 0 - - The chardge of 20 lance armours. - Sixteen hundred of plaetes will make twentie lance - armours wch come to 14 8 0 - The Armourers may finishe them upp for fourtie shillings - the armour wch comes to 40 0 0 - These 20 launce armours will yeld fower pounds a piece - wch amounteth unto 80 0 0 - So yt in these 20 launce armours is clerely gained 25 12 0 - Five hundred of plaetes will make twentie proof targetts - wch will come to 4 10 0 - The armourers may finishe them lether them and blacke - them with all other chardges for 12 0 0 - Thes targets will yeld (24s.[147]) the piece 26 0 0 - In these targetts may be cleared 9 10 0 - Twelve hundred of plaetes will make 20 paire of stronge - curatts with stronge capps wch will stand in 10 16 0 - The Armourers may finishe them for (30s.) the paire - wch amounteth unto 30 0 0 - These 20 paier of stronge curatts wt their capps will - yeld 4 li. the paier wch cometh toe 80 0 0 - So that by these 20 paier of stronge curatts will be - clerely gayned 39 10 0 - [148] - With fower plaeters may be wrought up in one weeke - 3700 weight of plates. The pfitt of wch weekly, - as by the particulars may appear will be 98 14 0 - And if these fower plaeters be emploied the whole year - (abating one month in the year for idle dayes) it - amounteth unto per ann 4737 li. 12 0 - - -FOOTNOTES: - -[147] An error in the original--this should be 26s. - -[148] Should be 4s. - - - - -APPENDIX K - -HALL-MARK OF THE ARMOURERS’ COMPANY - -Carolus I, ann. 7, 1631. Rymer, Vol. XIX, 309 - - -“John Franklin, William Crouch, John Ashton, Thomas Stephens, -Rowland Foster, Nicholas Marshall, William Coxe, Edward Aynesley, -Armourers & freemen of the company of Armourers ar ordered to -deliver 1500 armours each month with arms, pikes &c. and to train -prentices and to mend, dress & stamp armours.” The document goes on -to state “you ar to approve of all such armour of the said common -armes & trayned bands as shall be found fit for service, and shall -trye all sorts of gunnes, pikes, bandaliers of the said common -armes and trayned bands before they be used or excersied and to -approve of such as are serviceable for warres at the owners charges -and being proved shall allow as fit for service and allowing -shall stamp the same with A. and a Crown being the hall mark for -the company of workmen armourers of London which marke or stamp -our pleasure is shall with consent of the lord lieutenant or his -deputy lieutenant remayne in their custodye who shall have the -charge to be intrusted with the execution of this service.... And -because diverse cutlers, smythes, tynkers & othe botchers of armes -by their unskilfulness have utterly spoiled many armes, armours -gunnes and pykes, and bandoliers ... we doe hereby prohibit that -noe person or persons whatever, not having served seven years or -been brought up as an apprentice or apprentices in the trade and -mysterie of an armourer, gun-maker, pyke-maker and bandolier-maker -and thereto served their full tyme of seven years as aforesaid ... -do make, alter, change, dress or repayr, prove or stamp any armes, -armours, gunnes, pykes or bandoliers ... we do absolutely forbid -that no ironmonger, cutler or chandler or other person whatsoever -doe vent or sell any armours, gunnes, pikes or bandoliers or any -part of them except such as shall be proved and stamped with the -said hall marke of the company of workmen armourers aforesaid being -the proofe marke ... that hereafter there shall be but one uniform -Fashion of Armour of the said Trayned Bands throughout our said -Kingdome of England & Dominion of Wales ... whereof the Patterns -are and shall remayne from tyme to tyme in our said Office (of -Ordinance).” - - - - -APPENDIX L - -PETITION OF THE WORKMEN ARMOURERS OF LONDON TO THE COUNCIL - -S.P.D. Car. I, cclxxxix, 93, May, 1635 - - -Petitioners being few in number & most of them aged about 7 years -past sued to Her Mtie for some employment for preservation of -the manufacture of armour making within the kingdom. Her Mtie on -advice & report of the Council of War granted petitioners a patent -which 2 years passed the great seal & was then called for by the -Council for further consideration. Pray them to take the same into -consideration and the distress of petitioners & either to pass the -patent or if there be any omission in it to give orders for drawing -up another. - - - - -APPENDIX M - -EXTRACT FROM SURVEY OF THE TOWER ARMOURY, 1660 - -Harl. MS. 7457 - - -[Sidenote: _Greenwich._] - -Wee doe find aswell upon our owne view as upon the information -of diverse officers of the Armoury stoorekeeper and others That -dureing the time of the late distraccions The severall Armes -amunition and Habiliments of Warre formerly remaineing in the -greene Gallery at Greenwich were all taken and carryed away by -sundry Souldiers who left the doore open; That sundry of the said -Armes were afterwards brought into the Tower of London by Mr. -Anneslye where they are still remaineing; That the Wainescot in -the said Gallery is now all pull’d downe and carryed away; and (as -We are informed) was imployed in wainescotting the house in the -Tower where the said Mr. Anneslye lived; That a great part of the -severall Tooles and other utensils for makeing of Armour formerly -remaineing in the Master Armourers workehouse there and at the -Armourers Mill, were alsoe within the tyme of the said distraccions -taken and carryed away (saving two old Trunkes bound about with -Iron, which are still remaineing in the said workehouse, One old -Glazeing wheele, still at the Mill, and one other glazeing wheele -sold to a Cutler in Shoo lane): That sundry of the said Tooles -and other utensills have since byn converted and sold to private -uses, by those who within the tyme of the late distraccions had the -Command and care of the said armes and Tooles, both at Greenwich -and at the Tower: That diverse of the said Tooles are still in -other private mens hands, who pretend they bought them: That the -great Anville (called the great Beare) is now in the custodye of -Mr. Michaell Basten, locksmith at Whitehall, and the Anville knowne -by the name of the little Beare, is in the custodie of Thomas Cope, -one of His Majesties Armourers; And one Combe stake in the Custody -of Henry Keeme one other of his Majesties Armourers And that the -said Mill formerly employed in grinding and glazeing and makeing -cleane of Armes, is destroyed and converted to other uses by one -Mr. Woodward who claims it by virtue of a Graunt from King James -(of blessed memorye) but the officers of the Armorye (for his -Majesties use) have it now in their possession. - - -[Sidenote: _Memorandum._] - -That the severall distinguishments of the Armors and Furnitures -before mencioned, viz^t The first serviceable, The second -defective, and to be repaired, The third unserviceable, in their -owne kinds, yet may be employed for necessary uses, are soe -reported by Richard Kinge and Thomas Cox, two of his Majesties -Armorers at Greenwich, who were nominated and appointed in his -Majesties Commission, under his signe Manual before recited, to be -assistant in this Service: And we doe thinke the same to be by them -faithfully and honestly soe distinguished. - - WILL. LEGGE, Master of his Majesties Armories. - J. ROBINSON, Lt: Ten: Toure. - JO. WOOD, Barth Beale. - - - - -INDEX - - - A - - Alba, Duke of, 132 - - Albrecht, Harnischmeister, 9, 134 - - Almain armourers, 14 - - -- -- settle in England, 16 - - Almain Armourer’s Album, 19, 143 - - Almain rivet, 52 - - Amman, Jost, 24, 36 - - Angellucci, Major, on “proof,” 63, 67 - - Anvils, 24 - - Arbois, 14, 136 - - Armenia, Poisoned ore in, 40 - - Arming-doublet, 106 - - Arming-nails, 52 - - Arming-points, 30, 109, 111 - - Armour, Simplicity of English, 16 - - -- Boxes for, 82 - - -- cut up for lock-plates, 19 - - -- Disuse of, 116 - - -- Painted, 80 - - -- reinforced on left side, 52 - - -- Scarlet covering for, 93 - - -- Tinned, 33 - - -- Weights of, 42, 116 - - Armourers’ Company of London, 120 - - -- -- -- absorb the Bladesmiths, 124 - - -- -- -- and the informers Tipper and Dawe, 123 - - -- -- -- employed for coin-striking, 123 - - -- -- -- examine imported armour, 123 - - -- -- -- Hall-mark of, 124, 191 - - -- -- -- Regulations for apprentices of, 124 - - Armourers, Regulations for, 57 - - -- Marks of, 70 - - -- -- Illustrations of, 22-4, 36 - - Arrows for proving armour, 64 - - Ash, Monument at, 51, 106 - - Ashford, Helm at, 17, 18 - - Ashmolean Museum, Pictures in, 30, 98 - - -- -- Leather gauntlet in, 96 - - -- -- -- hat, 99 - - - B - - Banded mail, 46 - - Barcelona, 12 - - Bards of leather in Tower and Armeria Reale, Turin, 102 - - -- Painting of, 98 - - Barendyne helm, 17, 119 - - Barrel for cleaning armour, 79 - - Baskets for armour, 81 - - Battering-mills, 22, 35, 188 - - Beauchamp, Richard, Earl of Warwick, effigy of, 15, 138 - - -- Pageants, 15 - - Belleval, Marquis de, 113 - - Berardi, Guigliemo, Statue of, 74 - - Blewbery, John, 60 - - -- -- Tools of, 27, 30 - - Bordeaux, 12 - - Bottes, Armure à, 62 - - -- cassées, 62 - - Bracers for archers, 101 - - Bracket for sallad, 56 - - Bradshaw, Hat of, 99 - - Brampton, Nicholas, 88 - - Brassard, Construction of, 53 - - -- of cuir-bouilli, 100 - - Brescia, 13 - - Breughel, Picture by, 35, 92 - - Brigandarius, Office of, 61 - - Brigandine, Construction of, 29, 49 - - -- Marking of, 71 - - -- Proving of, 64 - - -- Reinforcing plates for the, 50 - - British Museum, Anvil and pincers in the, 24 - - -- -- Brigandine cap, 30 - - Brocas helm, 17, 111, 119 - - Buckram used for armour, 86 - - Buff coat, Last use of, 103 - - Bullato, Baltesar, 16 - - Burgmair, Hans, 131 - - Burgonet, Skilful forging of, 51 - - -- Meyrick’s views on the, 54 - - Burrel, Walter, on iron-smelting, 39 - - Burring machine, 36 - - Buttin, Charles, x, 62, 68, 100 - - - C - - Calverly, Sir Hugh, discards leg-armour, 115 - - Camail, Construction of, 45 - - Camelio, Vittore, 131 - - Campi, Bartolomeo, 37, 76, 132 - - Cantoni brothers, 133 - - Castile, Helmet of King of, 73 - - Catheloigne, 13 - - Cavalry, Weight of modern equipment of, 119 - - Cellini, Benvenuto, on damascening, 76 - - Chalcis, Italian armour from, 18, 78 - - -- Brigandine-plates from, 50 - - Charnel, The, 111 - - Charles I, Armour of, 76 - - Charles V, 2, 16, 132, 134 - - Chiesa, Pompeo della, 37, 140 - - Christian II, Armour in Dresden of, 75 - - Cloueur, Demi, 62 - - -- Haute, 62 - - Clous perdus, 11 - - Coats of fence, 84, 87 - - Colleoni, Pauldrons on statue of, 5 - - Colman, Coloman, 133 - - -- Desiderius, 134 - - -- -- his rivalry with the Negrolis, 16 - - -- Lorenz, 133 - - Cologne, 12 - - Cosson, Baron de, x, 84, 138 - - Craft rules, 3 - - Cramer, J., 44 - - Cuir-bouilli, 97 - - Cuisse for foot-soldier, 6 - - Curzon, The Hon. R., 96 - - - D - - D’Aubernon, Brass of Sir John, 74 - - Davies, Edward, 48 - - Dawtrey helm, 119 - - De Bures, Brass of Sir Robert, 74 - - Deforestation due to iron-smelting, 58 - - Derby, Earl of, brings over Milanese armourers, 15 - - Derrick’s _Image of Ireland_, 48 - - Dillon, Viscount, x, 107, 109, 144 - - -- -- Ditchley accounts, 19 - - -- -- on proof of armour, 66 - - Dobbles, 28, 104 - - Doul, Dr., and the Armourers’ Company, 122 - - Dover Castle inventory, 25, 33, 79 - - Dresden, Armour in, 75, 80, 134-7, 140 - - Dudley, Dud, 40, 41 - - Dürer, Albrecht, 89, 131 - - - E - - Edward II and the Armourers’ Company, 121 - - England, Documents relating to armourers in, 57-60 - - “Engraved suit,” Tower, 10, 53, 74, 142 - - Eyelet coats, 90 - - Erasmus (Kirkenor), 60 - - Erith, Plating-mills at, 34, 188 - - Estramaçon, Proof by, 62 - - - F - - Fabrics imitated in armour, 77 - - Falkenor, Petition by, 59 - - Falstoffe, Inventory of Sir John, 92 - - Field of the Cloth of Gold, Armourers at, 31 - - Florence, Armourers of, 14 - - Fogge Helm, 17 - - Foulke, Roger, 41 - - Framlingham Castle inventory, 25 - - Frauenpreis, Matthaias, 135 - - - G - - Galeazzo Maria Sforza, 133 - - Galliot de Balthasin, 113 - - Gambesons, Regulations for making, 85 - - -- soaked in vinegar, 92 - - Garbagnus, 21, 68 - - Gauntlet discarded for complex sword-hilt, 7 - - Gaya mentions proof of armour, 28, 69 - - “Glancing surface,” The, 3, 4 - - Glazing-wheels, 31 - - Goodrich Court, Leather armour at, 98 - - -- -- New College armour at, 65 - - Gratz, Armoury at, 18 - - “Great Bear” anvil, 35, 193 - - Greenwich, Workshops at, 32 - - -- Painting of a jack at, 49 - - Gresham, Steelyard of Sir Thomas, 19 - - Grünewalt, Hans, 135 - - Guiart, 84 - - Guidobaldo II, 132 - - Guise, Armour of the Duc de, 65, 118 - - Gustavus Adolphus, Leather coat of, 88 - - -- -- -- guns of, 99, 102 - - - H - - Hall-mark of the Armourers’ Company, 60, 70, 120 - - Hampton Court, Portrait of the Duc de Nevers at, 30, 111 - - Haselrigg’s “lobsters,” 81 - - Hastings MS. mention of padding, 88 - - -- -- regulations for undergarments, 107 - - -- Battle of, 1 - - Haustement, The, 111 - - Hearne, his visit to Ditchley, 19 - - Helm for “barriers,” 7 - - -- Fastenings for, 112 - - Helmet-caps, 89 - - Helmschmied, see Colman - - Helmsmith at work, 23 - - Hengrave Hall inventory, 48 - - Henry VIII, suit for fighting on foot, 57 - - -- “Engraved” suit, 10, 53, 74, 142 - - Henry VIII imports armourers, 16 - - Henry, Prince of Wales, Armour of, 11, 20, 59 - - Hewitt, John, ix, 125 - - Hill, Treatise of Johan, 93, 173 - - Hippopotamus hide used for armour, 102 - - Holinshed’s description of jacks, 90 - - Homildon, Arrows at the battle of, 38 - - Hope, David le, 57 - - Hopfer, Daniel, 136 - - Horse-armour, 8 - - -- padded, 85 - - -- of leather, 102 - - -- laminated, 9, 134 - - Horse-trappers, 84 - - -- of leather, 98 - - - I - - Infantry, Weight of modern equipment of, 118, 119 - - Iron mills, 58 - - -- ore, Poisoned, 40 - - -- Prices of, 39 - - Isebrook, as used by Shakespeare, 38 - - - J - - Jack, Construction of, 49, 50 - - -- Regulations of Louis XI for, 87 - - -- stuffed with horn and mail, 92 - - Jacobi mentioned as master workman, 66 - - James II, Proclamation against use of gold and silver foliate, 59, 187 - - Joinville, Armour given by the Prince de, 11 - - Jousting, Position of rider in, 5 - - Jousting-armour, Construction of, 7 - - Jousting-helm, Occularium of, 5 - - -- Fastenings of, 112 - - - K - - Kelk, John, and the Armourers’ “Mannakine,” 125 - - Knopf, Heinrich, 75 - - Kugler supplies inferior metal to Seusenhofer, 13, 38, 142 - - Kyrkenor, Erasmus, 60 - - - L - - Lames simulated by embossing, 11 - - La Noue criticizes weight of armour, 117 - - Leather horse-armour, 102 - - -- guns, 99, 102 - - -- cuisses and morion, 98 - - Lee, Sir Henry, Armour of, 19, 144 - - -- -- Helmet of, 89, 145 - - -- -- Trial of armour by, 66 - - -- -- Master of the Armouries, 59 - - Legg, Col. William, Master of the Armouries, 34, 193 - - “Leicester” suit in the Tower, 57, 144 - - Lewisham, Armoury mill at, 35 - - Lindsay helm, 119 - - Linen armourers, 88, 94 - - Lochner, Conrad, 136 - - Locking-gauntlet in Armourers’ Hall, 55, 125, 145 - - Locking-hooks, 55, 56 - - Locking-pins, 55 - - Louis XIV, Armour of, 21 - - -- Proof mark on armour of, 68 - - - M - - Madrid, Armour in, 16, 29, 57, 75, 76, 111, 119, 131-7, 140 - - Mail cut up for gussets and sleeves, 19 - - -- Construction of, 44 - - -- Double, 45 - - -- Proof of, 62 - - -- Marking of, 70 - - -- Painted, 80 - - -- used at end of sixteenth century, 103 - - -- Banded, 146 - - -- makers, 23 - - Manifer, Main faire, Main de fer, x, 92 - - Mantegna, Picture of S. George by, 15, 138 - - Mantua, Francesco di, 134 - - Marche, Oliver de la, mentions secret tempering for armour, 67 - - -- -- -- -- leather for duelling-armour, 98 - - Martin, John, Erection of plating-mills by, 34, 188 - - -- -- appeals for German platers, 121, 188 - - Mary of Burgundy, 14 - - Maximilian I, 133-7 - - Maximilian II, 2, 14, 134, 136, 141, 142 - - -- his theories on making armour, 16, 143 - - Mendlesham, Village armoury at, 18, 90 - - Merate brothers, 14, 136 - - Merchant Tailors, 95 - - Meyrick, Sir Samuel, ix - - -- -- his theories on banded mail, 48 - - -- -- -- -- the burgonet, 54 - - Milan, 12, 13, 138 - - -- Important factories of armour in, 15 - - Milanese armourers employed by Henry VIII, 16, 58 - - Mildmay, Sir Walter, and the Armourers’ Company, 122 - - “Milliner” derived from Milaner, 94 - - Missaglia, The, 21, 137 - - -- Helm in the Tower by, 7 - - -- Antonio, Marks of, 50 - - -- -- Armour by, 14, 139 - - -- Tomaso, Armour by, 138 - - Mola, Gasparo, 139 - - Montauban, Chapeaux de, 12 - - Moroni, Portraits by, 109 - - “Muhlberg” suit of Charles V, 57 - - Multscher, Hans, Statue of S. George by, 14 - - Musée d’Artillerie, Armour in, 21, 57, 64, 65, 68, 71, 74, 111, 119, - 136, 139, 140, 143 - - -- -- Eyelet coat in, 90 - - -- -- Horse-armour in, 8 - - -- -- Leather guns in, 102 - - - N - - Nasal, The, 46 - - Negrolis, 12, 16, 75, 140 - - New College, Armour from, 19, 65 - - New York, Anvil in Metropolitan Museum, 24 - - Niello-work as decoration for armour, 74 - - North, The Hon. Robert, describes padded armour, 94 - - Northumberland, Equipage of the Earl of, 30, 111 - - - O - - Or San Michele, Statue of S. George in, 14 - - Ortolano, Picture by, 30 - - - P - - Painted Chamber, Westminster, Frescoes in, 8 - - Passau, 13 - - -- Mark of the city of, 71 - - Parkes, his fowling-piece of “Dudley ore,” 41 - - Passe-guard, x, 52, 92 - - -- wrong use of the word, x, 4 - - Pauldrons, Large, 5 - - Pavia, Picture of the battle of, 98 - - Peffenhauser, Anton, 11, 75, 140 - - Peruzzi, Marchese, 19 - - Petit of Blois, 76 - - Petworth, Helm at, 18 - - Piccinino, Lucio, 11, 140 - - Pickering, William, 20, 59, 122 - - Piers Gaveston, Inventory of, 73 - - Pitt-Rivers Museum, Culottes and coats of fence in the, 84 - - Plate armour on legs, Reasons for, 3 - - Platers, 22 - - Plates, Size of, 42 - - Plating-mills, 34, 188 - - Pluvinel, De, 114 - - Poldermitton, The, 7 - - Poore, William, suggests a preservative for armour, 81 - - Porte de Hal Musée, Horse-cuissard in, 9 - - -- -- -- Eyelet coat in, 90 - - Privy coats, 87 - - Proof of armour, 62-72 - - -- -- -- by Sir Henry Lee, 66 - - -- marks on bascinet in Tower, 64 - - -- -- on armour of Louis XIV, 68 - - - R - - René, King, 85, 88, 101 - - Rerebrace, Construction of the, 5 - - Richmond at Bosworth Field, 2 - - Richmond, John, and the Armourers’ Company, 123 - - Rivets filed flat, 4 - - Rivet, Sliding, 52, 53 - - -- word used for a suit of armour, 52 - - Robinet, the King’s tailor, 82, 91 - - Rogers, Prof. Thorold, 38 - - Rosebecque, Battle of, 101 - - Rudolph of Nuremberg, 44 - - Ryall, Henry de, 94 - - - S - - S. Demetrius, Picture of, 30 - - S. George, Statuette by Multscher of, 15 - - -- -- at Prague of, 51 - - -- Engravings by Dürer of, 89 - - S. Victor, Picture at Glasgow of, 51 - - S. William, Carving at Strasburg of, 106 - - Sallad cap, 89 - - -- Cover for, 93 - - -- Venetian, 93 - - Sanseverino, Armour of Roberto di, 14 - - Saulx-Tavannes, J. de, 28 - - Saxe, Marshal, 65, 99 - - Search, Right of, 20, 58, 121 - - Sebastian, Armour of King, 75, 140 - - Seusenhofers, The, 141 - - Seusenhofer, Conrad, 10, 74, 77, 141 - - -- -- complains of inferior metal, 13 - - -- -- his workshop described in the _Weisz Künig_, 15 - - Shrewsbury, Gild of Armourers at, 59 - - Sidney, Sir Philip, 115 - - Sigismond of Tirol, Armour of, 21 - - Siris bronzes, 73 - - Sliding rivet, Construction of, 10, 52, 53 - - Smith, Sir John, 91, 113, 145 - - Solingen, 13 - - Solleret, Construction of, 6 - - -- Unpractical, 11 - - _Speculum Regale_, 84 - - Splinted armour, 49, 51 - - Spring-pins, 56 - - Staley, E., 14 - - Stamps, Armourer’s, 72 - - Stanley, John, Sergeant Armourer, 26 - - Staples for helms, 111 - - Stibbert Museum, 19 - - Stokes, W., _The Vaulting Master_, 113 - - Stone, Benjamin, blade-maker, 60 - - Sturtevant’s _Metallica_, 63 - - Surcoat, The use of, 79 - - Sword-pommels used for weights, 19 - - - T - - Thyrkill, Richard, 71 - - Tilt-hammers, 35, 40 - - Toledo, 13 - - Tonlet, 109 - - Tools, 24-31 - - Topf, Jacob, 143 - - -- -- Armour by, 19, 76 - - -- -- Armour in Armourers’ Hall by, 125 - - -- -- Peculiarity of hook on armets by, 21 - - Toulouse, 12 - - Tower of London, Armour in, 11, 53, 57, 74, 119, 137, 139, 142, 144, 145 - - -- -- Helm by the Missaglias in, 7, 64 - - -- -- Jacks in, 49 - - “Toiras” armour, 60 - - Tresses, 109 - - Turin, Armeria Reale, 71, 102, 141 - - Tyler, Wat, destroys a jack, 49 - - - U - - Undergarments, 106 - - - V - - Vambrace, Construction of, 6 - - Van der Goes, Picture in Glasgow by, 50 - - _Vaulting Master, The_, 113 - - _Verney Memoirs_, mention of proof of armour, 68 - - -- -- -- -- fit of armour, 105 - - Versy, 12 - - Vervelles, 46 - - Vienna, Armour in, 14, 133-41, 143, 145 - - -- Brigandine in, 50 - - -- Helm-cap in, 89 - - -- Helmet-covers in, 93 - - Vireton, 64 - - - W - - Wallace helm, 18, 117 - - -- Collection, Horse-armour in, 9 - - -- -- Armour in, 134, 139, 145 - - -- -- Bascinet and camail in, 46 - - -- -- Tools in, 24 - - Waller, J. G., his views on banded mail, 48 - - Walsingham, 49 - - Way, Albert, 107 - - _Weisz Künig_, 15, 141, 142 - - -- -- Armourer’s tools figured in, 28 - - Westminster helm, 17, 18, 119 - - -- Workshops in, 32 - - Whalebone used for gloves and jacks, 100 - - Whetstone, his project for light armour of proof, 59 - - Willars de Honnecourt, 45 - - William the Conqueror, 1 - - Willoughby, Jack of Sir John, 49 - - Windsor Park Tournament, 29, 100 - - Wire-drawing, Invention of, 44 - - Woolvercote, Sword-mills at, 34 - - Woolwich Rotunda, Tools in the, 24 - - -- -- helm, 18 - - -- -- leather guns, 102 - - - Z - - Zeller, Walter, 92 - - Zurich, 18 - - - PRINTED BY - WILLIAM BRENDON AND SON, LTD. - PLYMOUTH - - - - - TRANSCRIBER’S NOTE - - Footnotes [10] to [18] have multiple anchors on page 25. - Footnote [80] has two anchors on page 63. - Footnote [129] has two anchors on page 119. - Footnote [138] has three anchors on page 127. - - Obvious typographical errors and punctuation errors have been - corrected after careful comparison with other occurrences within - the text and consultation of external sources. - - Except for those changes noted below, all misspellings in the text, - and inconsistent or archaic usage, have been retained. - - Pg xiii: page number ‘vii’ replaced by ‘ix’. - Pg 20: ‘often exhibition some’ replaced by ‘often exhibiting some’. - Pg 26: ‘but the “hurthestaff”’ replaced by ‘but the “hurthestaf”’. - Pg 26: ‘The “cottyngyr” and’ replaced by ‘The “cottyngyre” and’. - Pg 40: ‘Gay’s Encylopædia’ replaced by ‘Gay’s Encyclopædia’. - Pg 87: ‘seur ledii jacques’ replaced by ‘seur ledit jacques’. - Fig. 48 caption: ‘Ashmolean Musem’ replaced by ‘Ashmolean Museum’. - Pg 111: ‘26 genouillère’ replaced by ‘26 genouillière’. - Pg 129: ‘Grünewald, Hans’ replaced by ‘Grünewalt, Hans’. - Pg 151: ‘Hans Guïnewalt’ replaced by ‘Hans Grünewalt’. - Pg 163: ‘Oberarmzeng’ replaced by ‘Oberarmzeug’. - Pg 173: ‘blank space’ replaced by ‘ ... ’. - Pg 174: ‘blank space’ replaced by ‘ ... ’. - - GLOSSARY. - Entries for ‘javelin’ ‘bravette’ ‘lists’ are referenced but they - do not exist. - Section ‘O’: ‘Oberarmzeng’ replaced by ‘Oberarmzeug’. - - INDEX. - There were several references to the Preface at pages ‘vii’ and ‘viii’. - This numbering was incorrect and has been changed to ‘ix’ and ‘x’. - Kelk: ‘“Manakine,” 125’ replaced by ‘“Mannakine,” 125’. - La Noue: ‘armour, 116’ replaced by ‘armour, 117’. - - - - - -End of the Project Gutenberg EBook of The armourer and his craft from the -XIth to the XVIth century, by Charles ffoulkes - -*** END OF THIS PROJECT GUTENBERG EBOOK THE ARMOURER AND HIS CRAFT *** - -***** This file should be named 60767-0.txt or 60767-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/7/6/60767/ - -Produced by MWS, John Campbell and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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