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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) - - - - - - -</pre> - - - -<div class="transnote"> -<p><strong>TRANSCRIBER’S NOTE</strong></p> - -<p>Footnote anchors are denoted by <span class="fnanchor">[number]</span>, and the footnotes have been -placed at the end of each chapter or Appendix. The numbers [376] to [383] in <a href="#APPENDIX_C">Appendix C</a> are part of the -quoted document, and are not footnotes.</p> - -<p>Basic fractions are displayed as ½ ¼ ⅜ etc; the only other fraction is -one-sixteenth, displayed as <sup>1</sup>/<sub>16</sub>. 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.</p> - -<p class="customcover">The cover image was created by the transcriber -and is placed in the public domain.</p> - -<p>Some minor changes to the text are noted at the <a href="#TN">end of the book.</a></p> -</div> - - -<hr class="chap pg-brk" /> -<p class="p6" /> - -<h1>THE ARMOURER AND HIS CRAFT</h1> -<p class="p6" /> - - -<hr class="chap pg-brk" /> -<p class="p6" /> - -<p class="pfs70">UNIFORM WITH THIS VOLUME</p> - -<p class="p1 pfs80 smcap">PASTE By A. Beresford Ryley</p> -<p class="p6" /> - - <div><a name="FP" id="FP"></a></div> -<div class="figcenter pg-brk"> -<img src="images/i_frontis.jpg" width="650" alt="" /> -<div class="caption"> -VENUS AT THE FORGE OF VULCAN. JAN BRUEGHEL AND HENDRICK VAN BALEN. CIRCA 1600<br /> -<span class="fs70">KAISER FRIEDRICH MUSEUM, BERLIN</span></div> -</div> - - -<hr class="chap pg-brk" /> - -<p class="pfs240">THE ARMOURER<br /> -AND HIS CRAFT</p> - -<p class="pfs120">FROM THE <span class="smcap">XIth</span> TO THE <span class="smcap">XVIth</span> CENTURY</p> - -<p class="pfs135">By CHARLES FFOULKES, B.Litt.Oxon.</p> - -<p class="p10 pfs60">WITH SIXTY-NINE DIAGRAMS IN THE TEXT AND THIRTY-TWO PLATES</p> - -<p class="p10 pfs90">METHUEN & CO. LTD.<br /> -<span class="lsp">36 ESSEX STREET W.C.</span><br /> -LONDON</p> - - -<hr class="chap pg-brk" /> - -<p class="p10 pfs60"><em>First Published in 1912</em></p> - -<p class="p10 pfs60"><em>Printed in Great Britain</em></p> - - -<hr class="chap pg-brk" /> - -<p class="p10 pfs60">TO THE RIGHT HONOURABLE</p> - -<p class="pfs70">THE VISCOUNT DILLON, Hon. M.A. Oxon.</p> - -<p class="pfs60">V.P.S.A., Etc. Etc.</p> - -<p class="pfs60">CURATOR OF THE TOWER ARMOURIES</p> -<p class="p6" /> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk fs135"><a name="PREFACE" id="PREFACE"></a>PREFACE</h2> - - -<p class="drop-capy">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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span> -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 (<i lang="fr" xml:lang="fr">main de fer.</i>) 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.</p> - -<p>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 (<i lang="de" xml:lang="de">Meister der Waffenschmiedekunst</i>) 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.</p> - -<p>Gay’s <cite>Encyclopædia</cite>, 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.</p> - -<p>Of living English writers I would express the indebtedness not -only of myself, but also of all those who are true <i lang="fr" xml:lang="fr">amateurs d’armes</i>, -to Baron de Cosson, who, with the late J. Burges, <span class="fs70">A.R.A.</span>, 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<span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span> -Viscount Dillon, Curator of the Tower Armouries, not only for his -minute researches printed in the <cite>Archæologia</cite> and <cite>Archæological -Journal</cite>, 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.</p> - -<p class="right">CHARLES FFOULKES</p> - -<p class="fs60 pad2"><span class="smcap">S. John’s College,<br /> -<span class="pad4">Oxford</span></span>, 1912</p> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span><br /> - <span class="pagenum"><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk fs135"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<div class="fs80 smcap"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl"></td><td class="tdr fs80">PAGE</td></tr> -<tr><td class="tdl">Preface</td><td class="tdr fvnormal"><a href="#Page_ix">ix</a></td></tr> -<tr><td class="tdl">The Armourer</td><td class="tdr"><a href="#Page_1">1</a></td></tr> -<tr><td class="tdl">Tools, Appliances, etc.</td><td class="tdr"><a href="#Page_22">22</a></td></tr> -<tr><td class="tdl">Iron and Steel</td><td class="tdr"><a href="#Page_38">38</a></td></tr> -<tr><td class="tdl">The Craft of the Armourer</td><td class="tdr"><a href="#Page_44">44</a></td></tr> -<tr><td class="tdl">The Proof of Armour</td><td class="tdr"><a href="#Page_62">62</a></td></tr> -<tr><td class="tdl">The Decoration of Armour</td><td class="tdr"><a href="#Page_73">73</a></td></tr> -<tr><td class="tdl">The Cleaning of Armour</td><td class="tdr"><a href="#Page_78">78</a></td></tr> -<tr><td class="tdl">The Use of Fabrics and Linen</td><td class="tdr"><a href="#Page_83">83</a></td></tr> -<tr><td class="tdl">The Use of Leather</td><td class="tdr"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl">The Wearing of Armour</td><td class="tdr"><a href="#Page_104">104</a></td></tr> -<tr><td class="tdl">The Armourers’ Company of the City of London</td><td class="tdr"><a href="#Page_120">120</a></td></tr> -<tr><td class="tdl">Lists of European Armourers</td><td class="tdr"><a href="#Page_126">126</a></td></tr> -<tr><td class="tdl">Short Biographies of Notable Armourers</td><td class="tdr"><a href="#Page_131">131</a></td></tr> -<tr><td class="tdl">List of Armourers’ Marks</td><td class="tdr"><a href="#Page_147">147</a></td></tr> -<tr><td class="tdl">Polyglot Glossary of Words dealing with Armour and Weapons</td><td class="tdr"><a href="#Page_153">153</a></td></tr> -</table></div> - -<p class="p2 pfs90 pg-brk">APPENDICES</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl">A.</td><td class="tdl"><span class="smcap">Extract from the Records of the Armourers’ Company of London</span>, 1322 (Lib. C, fol. 33)</td><td class="tdr"><a href="#Page_169">169</a></td></tr> -<tr><td class="tdl">B.</td><td class="tdl"><span class="smcap">Regulations of the Heaumers’ Company</span>, 1347 (City of London Letter Book F, cxlii)</td><td class="tdr"><a href="#Page_171">171</a></td></tr> -<tr><td class="tdl">C.</td><td class="tdl"><span class="smcap">Treatise of Worship in Arms, by Johan Hill, Armourer</span>, 1434 (Bod. Lib., Ashmole. 856, art. 22, fol. 376)</td><td class="tdr"><a href="#Page_173">173</a></td></tr> -<tr><td class="tdl">D.</td><td class="tdl"><span class="smcap">Traité du Costume Militaire</span>, 1446 (Du Costume Militaire des Français en 1446, Bib. Nat., Paris, 1997)</td><td class="tdr"><a href="#Page_177">177</a></td></tr> -<tr><td class="tdl">E.</td><td class="tdl"><span class="smcap">Extract from the Ordinances of the Armourers of Angers, etc.</span>, 1448 (Ordonn. des Rois, XX, 156. Rev. d’Aquitaine, XII, 26. Arch. des B. Pyrénées, E, 302)</td><td class="tdr"><a href="#Page_180">180</a></td></tr> -<tr><td class="tdl"><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[xiv]</a></span> - F.</td><td class="tdl"><span class="smcap">Expenses in the Royal Armouries, temp. Henry VIII</span> (Brit. Mus., Cotton. App. XXVIII, f. 76)</td><td class="tdr"><a href="#Page_182">182</a></td></tr> -<tr><td class="tdl">G.</td><td class="tdl"><span class="smcap">Petition of Armourers to Queen Elizabeth</span> (Lansdowne MS. 63, f. 5)</td><td class="tdr"><a href="#Page_184">184</a></td></tr> -<tr><td class="tdl">H.</td><td class="tdl"><span class="smcap">Undertaking of the Armourers’ Company of London to supply Armour</span> (Records of the Company, 1618)</td><td class="tdr"><a href="#Page_186">186</a></td></tr> -<tr><td class="tdl">I.</td><td class="tdl"><span class="smcap">Proclamation against the Use of Gold and Silver except in the Case of Armour</span> (State Papers Dom. Jac. I, cv)</td><td class="tdr"><a href="#Page_187">187</a></td></tr> -<tr><td class="tdl">J.</td><td class="tdl"><span class="smcap">Erection of Plating-mills at Erith</span> (State Papers Dom. Jac. I, clxxx)</td><td class="tdr"><a href="#Page_188">188</a></td></tr> -<tr><td class="tdl">K.</td><td class="tdl"><span class="smcap">Regulations as to the Hall-mark of the Armourers’ Company</span> (Rymer, XIX, 314)</td><td class="tdr"><a href="#Page_191">191</a></td></tr> -<tr><td class="tdl">L.</td><td class="tdl"><span class="smcap">Petition of Armourers</span> (State Papers Dom. Car. I, cclxxxix, 93)</td><td class="tdr"><a href="#Page_192">192</a></td></tr> -<tr><td class="tdl">M.</td><td class="tdl"><span class="smcap">Extract from the Survey of the Tower Armoury</span>, 1660 (Brit. Mus., Harl. MS. 7457)</td><td class="tdr"><a href="#Page_193">193</a></td></tr> -<tr><td class="tdl" colspan="2"><span class="smcap">Index</span></td><td class="tdr"><a href="#Page_195">195</a></td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_xv" id="Page_xv">[xv]</a></span></p> -<p class="p4 pg-brk" /> - -<h2 class="fs120 no-brk"><a name="LIST_OF_ILL" id="LIST_OF_ILL"></a>LIST OF ILLUSTRATIONS IN THE TEXT</h2> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl"></td><td class="tdr fs80">PAGE</td></tr> -<tr><td class="tdl"> 1.</td><td class="tdl">Diagram showing the “glancing surface”</td><td class="tdr"><a href="#Page_4">4</a></td></tr> -<tr><td class="tdl"> 2.</td><td class="tdl">Diagram showing the position of the lance in jousting, from <cite>Arch. Journ.</cite>, LV.</td><td class="tdr"><a href="#Page_5">5</a></td></tr> -<tr><td class="tdl"> 3.</td><td class="tdl">Pauldrons on the statue of Colleoni, Venice, and of a Missaglia suit in the Waffensammlung, Vienna (<a href="#PLATE_II">Plate II</a>)</td><td class="tdr"><a href="#Page_6">6</a></td></tr> -<tr><td class="tdl"> 4.</td><td class="tdl">The solleret, practical and unpractical</td><td class="tdr"><a href="#Page_6">6</a></td></tr> -<tr><td class="tdl"> 5.</td><td class="tdl">Horse-armour</td><td class="tdr"><a href="#Page_8">8</a></td></tr> -<tr><td class="tdl"> 6.</td><td class="tdl">Harnischmeister Albrecht, from a painting in the Arsenal, Vienna</td><td class="tdr"><a href="#Page_9">9</a></td></tr> -<tr><td class="tdl"> 7.</td><td class="tdl">Cuissard for the off hock of a horse. Musée Porte de Hal, Brussels</td><td class="tdr"><a href="#Page_10">10</a></td></tr> -<tr><td class="tdl"> 8.</td><td class="tdl">Arms of the Armourers’ Gild, Florence. From the Church of Or San Michele</td><td class="tdr"><a href="#Page_14">14</a></td></tr> -<tr><td class="tdl"> 9.</td><td class="tdl">S. George, by Hans Multscher, 1458. Augsburg</td><td class="tdr"><a href="#Page_14">14</a></td></tr> -<tr><td class="tdl">10.</td><td class="tdl">Richard Beauchamp, Earl of Warwick, arming. Brit. Mus., Cott., Jul., E, IV, fol. 12 b</td><td class="tdr"><a href="#Page_15">15</a></td></tr> -<tr><td class="tdl">11.</td><td class="tdl">The Westminster helm</td><td class="tdr"><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl">12.</td><td class="tdl">The Brocas helm</td><td class="tdr"><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl">13.</td><td class="tdl">The Fogge helm</td><td class="tdr"><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl">14.</td><td class="tdl">The Barendyne helm</td><td class="tdr"><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl">15.</td><td class="tdl">The Mail-maker, from Jost Amman’s <cite>Stande und Handwerker</cite>, <em>circ.</em> 1590</td><td class="tdr"><a href="#Page_23">23</a></td></tr> -<tr><td class="tdl">16.</td><td class="tdl">The Armourer, from the same source as the above</td><td class="tdr"><a href="#Page_24">24</a></td></tr> -<tr><td class="tdl">17.</td><td class="tdl">Burring-machine or “jenny,” from the picture by Breughel given on the frontispiece</td><td class="tdr"><a href="#Page_36">36</a></td></tr> -<tr><td class="tdl">18.</td><td class="tdl">Method of making mail, from <cite>Arch. Journ.</cite>, XXXVII</td><td class="tdr"><a href="#Page_45">45</a></td></tr> -<tr><td class="tdl">19.</td><td class="tdl">Representations of double and single mail, from the effigy of Robert de Mauley, formerly in York Minster, <cite>Archæologia</cite>, XXXI</td><td class="tdr"><a href="#Page_45">45</a></td></tr> -<tr><td class="tdl">20.</td><td class="tdl">The coif of mail, from the effigy of William, Earl of Pembroke, Temple Church, and an unnamed effigy in Pershore Church, Worcs, after Fairholt</td><td class="tdr"><a href="#Page_46">46</a></td></tr> -<tr><td class="tdl">21.</td><td class="tdl">Attachment of the camail, from the effigy of Sir R. Pembridge, Clehonger Church, Hereford</td><td class="tdr"><a href="#Page_46">46</a></td></tr> -<tr><td class="tdl">22.</td><td class="tdl">Attachment of the camail reconstructed</td><td class="tdr"><a href="#Page_46">46</a></td></tr> -<tr><td class="tdl">23.</td><td class="tdl">Suggested arrangement of “banded” mail, from <cite>Arch. Journ.</cite>, XXXVII, figure from <cite>Romance of Alexander</cite>, Paris, Bib. Nat., <em>circ.</em> 1240, and the effigy at Newton Solney, Derbs.</td><td class="tdr"><a href="#Page_47">47</a></td></tr> -<tr><td class="tdl">24.</td><td class="tdl">Foot-soldier wearing a jack, from the <cite>Chasse of S. Ursula</cite>, by Memling, 1475–1485. Bruges.</td><td class="tdr"><a href="#Page_49">49</a></td></tr> -<tr><td class="tdl">25.</td><td class="tdl">Construction of jack, from <cite>Arch. Journ.</cite>, XXXVII</td><td class="tdr"><a href="#Page_50">50</a></td></tr> -<tr><td class="tdl">26.</td><td class="tdl">Brigandine in the Waffensammlung, Vienna, No. 130</td><td class="tdr"><a href="#Page_50">50</a></td></tr> -<tr><td class="tdl">27.</td><td class="tdl">Detail from the picture of S. Victor and donor, by Van der Goes, Glasgow</td><td class="tdr"><a href="#Page_51">51</a></td></tr> -<tr><td class="tdl">28.</td><td class="tdl">Effigy in Ash Church, Kent, XIV cent.</td><td class="tdr"><a href="#Page_51">51</a></td></tr> -<tr><td class="tdl">29.</td><td class="tdl">Statue of S. George at Prague, 1375</td><td class="tdr"><a href="#Page_51">51</a></td></tr> -<tr><td class="tdl">30.</td><td class="tdl">The sliding rivet</td><td class="tdr"><a href="#Page_52">52</a></td></tr> -<tr><td class="tdl">31.</td><td class="tdl">Sections of brassards in the Tower</td><td class="tdr"><a href="#Page_54">54</a></td></tr> -<tr><td class="tdl">32.</td><td class="tdl">Locking gauntlet of Sir Henry Lee. Armourers’ Hall, London</td><td class="tdr"><a href="#Page_55">55</a></td></tr> -<tr><td class="tdl">33.</td><td class="tdl">Locking hooks, turning pins, and strap cover</td><td class="tdr"><a href="#Page_55">55</a></td></tr> -<tr><td class="tdl">34.</td><td class="tdl">Bracket for jousting-sallad. Dresden, C, 3, 4</td><td class="tdr"><a href="#Page_57">57</a></td></tr> -<tr><td class="tdl">35.</td><td class="tdl">Detail showing proof mark on the breast of suit of Louis XIV. Paris, G, 125</td><td class="tdr"><a href="#Page_69">69</a></td></tr> -<tr><td class="tdl">36.</td><td class="tdl"><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[xvi]</a></span> - Proof marks on a brigandine plate in the Darmstadt Museum</td><td class="tdr"><a href="#Page_71">71</a></td></tr> -<tr><td class="tdl">37.</td><td class="tdl">Poleynes on the brass of Sir Robert de Bures, Acton, Suffolk, 1302</td><td class="tdr"><a href="#Page_74">74</a></td></tr> -<tr><td class="tdl">38.</td><td class="tdl">Beinbergs on the statue of Guigliemo Berardi, 1289, in the Cloisters of the Church of the Annunziata, Florence</td><td class="tdr"><a href="#Page_74">74</a></td></tr> -<tr><td class="tdl">39.</td><td class="tdl">Brass of an unknown knight at Laughton, Lincs, 1400</td><td class="tdr"><a href="#Page_75">75</a></td></tr> -<tr><td class="tdl">40.</td><td class="tdl">Pourpointed cuisses, from the brass of Sir John de Argentine, Horseheath Church, Cambs, 1360</td><td class="tdr"><a href="#Page_83">83</a></td></tr> -<tr><td class="tdl">41.</td><td class="tdl">Padded horse-armour, from King René’s <cite>Traicté d’un Tournois</cite></td><td class="tdr"><a href="#Page_85">85</a></td></tr> -<tr><td class="tdl">42.</td><td class="tdl">Padded “harnische-kappe” and helm showing the attachment of the cap, after Dürer</td><td class="tdr"><a href="#Page_89">89</a></td></tr> -<tr><td class="tdl">43.</td><td class="tdl">Sallad-cap, from a picture by Paolo Morando, 1486–1522, No. 571. Uffizi Gallery, Florence</td><td class="tdr"><a href="#Page_89">89</a></td></tr> -<tr><td class="tdl">44.</td><td class="tdl">Helmet-cap, from a XVI-cent. engraving of Jacob Fugger</td><td class="tdr"><a href="#Page_89">89</a></td></tr> -<tr><td class="tdl">45.</td><td class="tdl">Detail of eyelet coats, XVI-XVII cent. Musée d’Artillerie and Musée Cluny, Paris</td><td class="tdr"><a href="#Page_91">91</a></td></tr> -<tr><td class="tdl">46.</td><td class="tdl">Sallad with cover, from a XVI-cent. engraving</td><td class="tdr"><a href="#Page_93">93</a></td></tr> -<tr><td class="tdl">47.</td><td class="tdl">Cuirass, from the sketch-book of Willars de Honecourt, XIII cent.</td><td class="tdr"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl">48.</td><td class="tdl">Leather gauntlet, XVII cent. Ashmolean Museum, Oxford</td><td class="tdr"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl">49.</td><td class="tdl">Brassard of leather and cord for the tourney, from King René’s <cite>Traicté d’un Tournois</cite></td><td class="tdr"><a href="#Page_97">97</a></td></tr> -<tr><td class="tdl">50.</td><td class="tdl">Leather and steel hat of Bradshaw the regicide. Ashmolean Museum, Oxford</td><td class="tdr"><a href="#Page_99">99</a></td></tr> -<tr><td class="tdl">51.</td><td class="tdl">Stripping the dead, from the Bayeux Tapestry</td><td class="tdr"><a href="#Page_105">105</a></td></tr> -<tr><td class="tdl">52.</td><td class="tdl">Knight arming, from the <cite>Livre des Nobles Femmes</cite>, Bib. Nat., Paris, XIV cent.</td><td class="tdr"><a href="#Page_105">105</a></td></tr> -<tr><td class="tdl">53.</td><td class="tdl">Brass of Sir John de Creke, 1325, Westley Waterless, Cambs.</td><td class="tdr"><a href="#Page_106">106</a></td></tr> -<tr><td class="tdl">54.</td><td class="tdl">Arming-points, from the portrait of a navigator. Ashmolean Museum, Oxford</td><td class="tdr"><a href="#Page_108">108</a></td></tr> -<tr><td class="tdl">55.</td><td class="tdl">Attachment of brassard, from the portrait of the Duc de Nevers. Hampton Court Palace</td><td class="tdr"><a href="#Page_108">108</a></td></tr> -<tr><td class="tdl">56.</td><td class="tdl">Moton attached by points. Harl. MS. 4826</td><td class="tdr"><a href="#Page_109">109</a></td></tr> -<tr><td class="tdl">57.</td><td class="tdl">Arming-points on the foot, from a picture of S. Demetrius by Ortolano. National Gallery, London</td><td class="tdr"><a href="#Page_109">109</a></td></tr> -<tr><td class="tdl">58.</td><td class="tdl">Sixteenth-century suit of plate with the several parts named in English, French, German, Italian, and Spanish</td><td class="tdr"><a href="#Page_110">110</a></td></tr> -<tr><td class="tdl">59.</td><td class="tdl">Attachment of jousting-helms to the cuirass</td><td class="tdr"><a href="#Page_112">112</a></td></tr> -<tr><td class="tdl">60.</td><td class="tdl">Side view of the above</td><td class="tdr"><a href="#Page_112">112</a></td></tr> -<tr><td class="tdl">61.</td><td class="tdl">The armourer in the lists. Heralds’ Coll., MS. M, 6, fol. 56</td><td class="tdr"><a href="#Page_113">113</a></td></tr> -<tr><td class="tdl">62.</td><td class="tdl">Arms of the Armourers’ Company of London</td><td class="tdr"><a href="#Page_120">120</a></td></tr> -<tr><td class="tdl">63.</td><td class="tdl">Design on a gauntlet of the suit made for Henry, Prince of Wales, by William Pickering, <em>circ.</em> 1611. Windsor Castle</td><td class="tdr"><a href="#Page_122">122</a></td></tr> -<tr><td class="tdl">64.</td><td class="tdl">Mark of Bernardino Cantoni on a brigandine, C, II. Real Armeria, Madrid</td><td class="tdr"><a href="#Page_133">133</a></td></tr> -<tr><td class="tdl">65.</td><td class="tdl">Detail of shield by Desiderius Colman (<a href="#PLATE_XXIV">Plate XXIV</a>)</td><td class="tdr"><a href="#Page_135">135</a></td></tr> -<tr><td class="tdl">66.</td><td class="tdl">Capital formerly in the Via degli Spadari, Milan, showing the mark of the Missaglia family</td><td class="tdr"><a href="#Page_138">138</a></td></tr> -<tr><td class="tdl">67.</td><td class="tdl">Design on the left cuisse of Henry VIII’s suit, made by Conrad Seusenhofer. Tower of London, II, 5</td><td class="tdr"><a href="#Page_141">141</a></td></tr> -<tr><td class="tdl">68.</td><td class="tdl">Design by Jacobe Topf for gauntlet and armet of Sir Henry Lee, from the <cite>Armourer’s Album</cite>. Victoria and Albert Museum</td><td class="tdr"><a href="#Page_146">146</a></td></tr> -<tr><td class="tdl">69.</td><td class="tdl">Design on the breast of Sir Henry Lee’s suit by Topf. Armourers’ Hall, London</td><td class="tdr"><a href="#Page_146">146</a></td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_xvii" id="Page_xvii">[xvii]</a></span></p> -<p class="p4 pg-brk" /> - -<h2 class="fs120 no-brk"><a name="LIST_OF_PLATES" id="LIST_OF_PLATES"></a>LIST OF PLATES</h2> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdrt"></td><td class="tdl">Venus at the Forge of Vulcan, by Jan Breughel and Hendrik van Balen, <em>circ.</em> 1600. Kaiser Friedrich Museum, - Berlin <span class="pad10 fs80"><a href="#FP"><em>Frontispiece</em></a></span></td></tr> -<tr><td class="tdrt"></td><td class="tdr fs80" colspan="2">FACING PAGE</td></tr> -<tr><td class="tdrt"><a href="#PLATE_I">I.</a></td><td class="tdl">Armour for the “Stechzeug,” XV-XVI cent. Germanische Museum, Nuremberg</td><td class="tdr">4</td></tr> -<tr><td class="tdrt"><a href="#PLATE_II">II.</a></td><td class="tdl">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, <em>circ.</em> 1454, from Blore’s <cite>Monumental Remains</cite>. S. George, by Andrea - Mantegna, 1431–1506, Accademia, Venice. Armour of Roberto di Sanseverino, by Antonio da Missaglia, <em>circ.</em> 1480; Waffensammlung, Vienna, No. 3</td><td class="tdr">8</td></tr> -<tr><td class="tdrt"><a href="#PLATE_III">III.</a></td><td class="tdl">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</td><td class="tdr">12</td></tr> -<tr><td class="tdrt"><a href="#PLATE_IV">IV.</a></td><td class="tdl">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</td><td class="tdr">16</td></tr> -<tr><td class="tdrt"><a href="#PLATE_V">V.</a></td><td class="tdl">Anvils in the British Museum (Burges Bequest) and in the possession of Mme. Bellon, Avignon</td><td class="tdr">20</td></tr> -<tr><td class="tdrt"><a href="#PLATE_VI">VI.</a></td><td class="tdl">The Workshop of Conrad Seusenhofer, from the <cite>Weisz Künig</cite>, by Hans Burgmair, 1525</td><td class="tdr">24</td></tr> -<tr><td class="tdrt"><a href="#PLATE_VII">VII.</a></td><td class="tdl">Armour of Kurfürst Moritz, by Matthäus Frauenpreis, 1548. Königl. Hist. Museum, Dresden, G, 39</td><td class="tdr">28</td></tr> -<tr><td class="tdrt"><a href="#PLATE_VIII">VIII.</a></td><td class="tdl">Armour of Henry VIII for fighting on foot in the lists. Tower of London, II, 28</td><td class="tdr">32</td></tr> -<tr><td class="tdrt"><a href="#PLATE_IX">IX.</a></td><td class="tdl">Italian brassard (front and back), cuisse, 1470; Ethnological Museum, Athens. Inside of leg-armour of suit shown on <a href="#PLATE_VIII">Plate VIII</a></td><td class="tdr">36</td></tr> -<tr><td class="tdrt"><a href="#PLATE_X">X.</a></td><td class="tdl">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 <a href="#PLATE_XII">Plate XII</a></td><td class="tdr">40</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XI">XI.</a></td><td class="tdl">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</td><td class="tdr">44</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XII">XII.</a></td><td class="tdl">“Engraved Suit,” by Conrad Seusenhofer, presented to Henry VIII by the Emperor Maximilian I, 1514. Tower of London, II, 5</td><td class="tdr">48</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XIII">XIII.</a></td><td class="tdl">Helmet of Sir Henry Lee, by Jacobe Topf, 1530–1597. Tower of London, IV, 29</td><td class="tdr">52</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XIV">XIV.</a></td><td class="tdl">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</td><td class="tdr">56</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XV">XV.</a></td><td class="tdl">Alegoria del Tacto, by Jan Breughel. Prado, Madrid</td><td class="tdr">60</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XVI">XVI.</a></td><td class="tdl">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</td><td class="tdr">64</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XVII">XVII.</a></td><td class="tdl">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</td><td class="tdr">68</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XVIII">XVIII.</a></td><td class="tdl"><span class="pagenum"><a name="Page_xviii" id="Page_xviii">[xviii]</a></span> - Portraits of two unknown noblemen, by Moroni, 1510–1578, showing the arming-doublet and mail sleeves. National Gallery, London</td><td class="tdr">72</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XIX">XIX.</a></td><td class="tdl">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</td><td class="tdr">76</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XX">XX.</a></td><td class="tdl">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</td><td class="tdr">80</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXI">XXI.</a></td><td class="tdl">Suit of “puffed and slashed” armour, <em>circ.</em> 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, <em>circ.</em> 1515; - Waffensammlung, Vienna, No. 198</td><td class="tdr">84</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXII">XXII.</a></td><td class="tdl">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, <em>circ.</em> 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</td><td class="tdr">88</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXIII">XXIII.</a></td><td class="tdl">Armour for horse and man, middle of XV cent. Musée d’Artillerie, Paris, G, 1</td><td class="tdr">92</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXIV">XXIV.</a></td><td class="tdl">Pageant shield, by Desiderius Colman, 1554. Real Armeria, Madrid, A, 241</td><td class="tdr">96</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXV">XXV.</a></td><td class="tdl">Drawing by Jacobe Topf, 1530–1597, No. 15 in the Album in the Art Library, Victoria and Albert Museum, London</td><td class="tdr">100</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXVI">XXVI.</a></td><td class="tdl">Armour of Sir Christopher Hatton; formerly in the Spitzer Collection, now in the Royal Armoury, Windsor Castle</td><td class="tdr">100</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXVII">XXVII.</a></td><td class="tdl">Drawing by Jacobe Topf, from the same source as <a href="#PLATE_XXV">Plate XXV</a>, 18 in the Album</td><td class="tdr">104</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXVIII">XXVIII.</a></td><td class="tdl">Armour of Sir John Smith, by Jacobe Topf. Tower of London, II, 12</td><td class="tdr">104</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXIX">XXIX.</a></td><td class="tdl">(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, <em>circ.</em> 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</td><td class="tdr">108</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXX">XXX.</a></td><td class="tdl">Armour of Friedrich des Siegreichen, by Tomaso da Missaglia, <em>circ.</em> 1450; Waffensammlung, Vienna, No. 2. Armour, <em>circ.</em> 1460; - Musée d’Artillerie, Paris, G, 5</td><td class="tdr">112</td></tr> -<tr><td class="tdrt"><a href="#PLATE_XXXI">XXXI.</a></td><td class="tdl">Portrait medal of Coloman Colman (Helmschmied), 1470–1532. Designs for saddle steel and visor, by Albert Dürer, 1517, - from the Albertina, Vienna</td><td class="tdr">116</td></tr> -</table></div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_xix" id="Page_xix">[xix]</a></span></p> -<p class="p6" /> - -<h2 class="fs90 no-brk"><a name="ACKNOWLEDGMENT" id="ACKNOWLEDGMENT"></a>ACKNOWLEDGMENT</h2> - -<div class="blockquotx"> -<p class="noindent">The author desires to express his thanks for permission to reproduce -illustrations contained in this work to the following:—</p> - -<p>Viscount Dillon, Curator of the Tower Armouries; Mr. Guy -Laking, <span class="fs70">M.V.O.</span>, 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 <cite>Waffensammlungen</cite>); Moeser, -Berlin (publishers of Boeheim’s <cite>Meister der Waffenschmiedkunst</cite>); -Christof Müller, Nuremberg; Seeman, Leipzig (publishers of -Boeheim’s <cite>Waffenkunde</cite>); and Sen. Hauser and Menet, Madrid.</p> -</div> -<p class="p6" /> - - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_xx" id="Page_xx">[xx]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk fs120"><a name="WORKS_OF_REFERENCE" id="WORKS_OF_REFERENCE"></a>WORKS OF REFERENCE</h2> - - -<div class="fs70"> -<p class="noindent"> -Allgemeine Zeitung. Various vols.<br /> -<br /> -Angellucci. Doccumenti inediti.<br /> -<br /> -Antiquarian Repertory.<br /> -<br /> -Archæologia. Various vols.<br /> -<br /> -Archæological Journal. Various vols.<br /> -<br /> -Archives Civiques de Lille.<br /> -<br /> -Archives Camerales di Torino.<br /> -<br /> -Armourers’ Company, London, Records of.<br /> -<br /> -<br /> -Beckman. History of Inventions. 1846.<br /> -<br /> -Belleval, Marquis de. Costume Militaire Français de 1445.<br /> -<br /> -Boeheim. Waffenkunde. 1890.<br /> -<br /> -<span class="pad1h">” Meister der Waffenschmiedekunst. 1897.</span><br /> -<br /> -<span class="pad1h">” Articles in Jahrbuch des Kunsthist. Sammlungen.</span><br /> -<br /> -Boileau, Étienne. Livres des Métiers. Edit. 1837.<br /> -<br /> -Buff, A. Augsburger Platner Allge. Zeit. 1892.<br /> -<br /> -Buttin. Notes sur l’Épreuve. (Rev. Savoisienne, 1906, fasc. 4.)<br /> -<br /> -<span class="pad1h">” Le Guet de Genève. 1910.</span><br /> -<br /> -<br /> -Calendar of State Papers. Various entries.<br /> -<br /> -Carteggio ined. artisti.<br /> -<br /> -Cellini, Benvenuto. Arte Fabrile, Plon. 1883.<br /> -<br /> -<span class="pad1h">” ” Life, Cust. 1910.</span><br /> -<br /> -Chambres des Comptes, Paris. Various entries, 1765.<br /> -<br /> -Chronique de Bertrand du Guesclin. Edit. 1837.<br /> -<br /> -City of London Letter Books.<br /> -<br /> -Cosson, Baron de:—<br /> -<br /> -<span class="pad2">Arch. Journ., XXXVII. Catalogue of Helmets and Mail.</span><br /> -<br /> -<span class="pad3">” ” XLI. Gauntlets.</span><br /> -<br /> -<span class="pad3">” ” XLVIII. Arsenals and Armouries of Southern Germany.</span><br /> -<br /> -Catalogue of the Duc de Dino’s Collection.<br /> -<br /> -<br /> -Daniele, Père Gabriel. Hist. de la Milice Français. 1721.<br /> -<br /> -<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[xxi]</a></span>Demmin. Guide des Amateurs d’Armes.<br /> -<br /> -Dillon, Viscount:—<br /> -<br /> -<span class="pad2">Archæologia, LI. Arms and Armour at Westminster, the Tower, and Greenwich. 1547.</span><br /> -<br /> -<span class="pad4">” LI. Trial of Armour. 1590.</span><br /> -<br /> -<span class="pad4">” LVII. Ordinances of Chivalry, XV cent.</span><br /> -<br /> -<span class="pad2">Arch. Journ., XLIV. The Besague or Moton.</span><br /> -<br /> -<span class="pad2h">” ” XLVI. The Pasguard and the Volant Piece.</span><br /> -<br /> -<span class="pad2h">” ” LI. An Elizabethan Armourer’s Album, 1590.</span><br /> -<br /> -<span class="pad2h">” ” LV. Tilting in Tudor Times.</span><br /> -<br /> -<span class="pad2h">” ” LX. Armour Notes.</span><br /> -<br /> -<span class="pad2h">” ” LXV. Armour and Arms in Shakespeare.</span><br /> -<br /> -<span class="pad2h">” ” LXIX. Horse Armour.</span><br /> -<br /> -<span class="pad2">An Almain Armourer’s Album, Introduction and Notes. 1905.</span><br /> -<br /> -Dudley, Dud. Metallum Martis. 1665.<br /> -<br /> -<br /> -Essenwein. Die Helm. 1892.<br /> -<br /> -<br /> -Fauchet, Claude. Origines des Chevaliers, etc. 1610.<br /> -<br /> -ffoulkes, Charles:—<br /> -<br /> -<span class="pad2">Armour and Weapons. 1909.</span><br /> -<br /> -<span class="pad2">Gaya’s Traité des Armes. 1911.</span><br /> -<br /> -<span class="pad2">Arms and Armour at Oxford. 1912.</span><br /> -<br /> -<span class="pad2">Archæologia, LXII, LXIII.</span><br /> -<br /> -<span class="pad2">Arch. Journ., LXVIII.</span><br /> -<br /> -<span class="pad2">Burlington Mag. April, 1911.</span><br /> -<br /> -<span class="pad2">Connoisseur. June, Sept., Nov., 1909.</span><br /> -<br /> -<span class="pad2">Zeitschrift für Historische Waffenkunde, V. 10.</span><br /> -<br /> -Forestie. Livres des Comptes des Frères Bonis.<br /> -<br /> -<br /> -Garnier. L’Artillerie des Ducs de Bourgogne.<br /> -<br /> -Gay. Glossaire Archéologique.<br /> -<br /> -Gaya. Traité des Armes, 1687. (Edit. by C. ffoulkes.) 1911.<br /> -<br /> -Gazette de Beaux Arts. Various articles.<br /> -<br /> -Gelli, J. Guida del Amatore di Armi Antiche. 1900.<br /> -<br /> -Gelli and Moretti. I Missaglia. 1903.<br /> -<br /> -Giraud. Les Armuriers Français et Étrangers, 1898.<br /> -<br /> -Gurlitt. Deutschen Turniere, Rüstungen und Plattner. 1889.<br /> -<br /> -Gwynne, John. Memoirs of the Great Civil War. 1822 edit.<br /> -<br /> -<br /> -Hastings MS. Ordinances of Chivalry. (Archæologia, LVII.)<br /> -<br /> -Hefner-Altneck. Tracten des Christlichen Mittelalters. 1840.<br /> -<br /> -Herbert, William. Hist. of 12 Livery Companies of London. 1834–7.<br /> -<br /> -Hewitt. Ancient Armour. 1855.<br /> -<br /> -Holinshed, R. Chronicles<br /> -<br /> -<br /> -<span class="pagenum"><a name="Page_xxii" id="Page_xxii">[xxii]</a></span>Jahrbuch des Kunsthistorische Sammlungen des Allerhöchster Kaiserhause. Various vols.<br /> -<br /> -<br /> -Langey. Discipline Militaire.<br /> -<br /> -La Noue. Discours Politiques et Militaires, trans. by E. A. 1587.<br /> -<br /> -Letters and Papers Foreign and Domestic, Record Office. Various entries.<br /> -<br /> -<br /> -Markham, G. Decades of Epistles of War. 1662. Souldiers’ Accidence. 1643.<br /> -<br /> -Memorials of the Verney Family.<br /> -<br /> -Mémoires de la Soc. Arch. de Touraine.<br /> -<br /> -Meyrick. Antient Armour.<br /> -<br /> -Montgomery. Milice Français.<br /> -<br /> -Morigia. Hist. dell’ Antichita di Milano.<br /> -<br /> -<br /> -Oliver de la Marche. Memoirs, etc. 1616 edit.<br /> -<br /> -Ordonnances des Métiers de Paris.<br /> -<br /> -Ordonnances des Rois.<br /> -<br /> -<br /> -Patent Office, London, Records of.<br /> -<br /> -Pennant. History of London.<br /> -<br /> -Pelegrini. Di un Armajuolo Bellunese. Arch. Venez., X.<br /> -<br /> -<br /> -René. Traicté d’un Tournoi.<br /> -<br /> -Revue Savoisienne. Various vols.<br /> -<br /> -Rogers, J. Thorold. History of Agriculture and Prices. 1866.<br /> -<br /> -Rymer. Fœdera. Various entries.<br /> -<br /> -<br /> -Saulx-Tavannes. Mém. rel. à l’hist. de France, Vol. VIII. 1866.<br /> -<br /> -Saxe, Marshal. Rêveries. Edit. 1756.<br /> -<br /> -Scott, Sir S. History of the British Army.<br /> -<br /> -Speculum Regale. Edit. 1768.<br /> -<br /> -Smith, Sir John. Instructions and Orders Militarie. 1593. Discourses. 1590.<br /> -<br /> -Sussex Archæological Journal. Various articles.<br /> -<br /> -<br /> -Walsingham. Historia Anglicana, Rolls Series.<br /> -<br /> -Wardroom Accounts of Edward I. Soc. of Ant.<br /> -<br /> -<br /> -Zeitschrift für Historische Waffenkunde. Various articles.<br /> -</p> -<br /> - -<p><cite>Catalogues</cite> 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.</p> - -<p><cite>Articles in various Journals and Periodicals</cite> by Viscount Dillon, Baron de Cosson, Burgess, Waller, Way, -Meyrick, Hewitt, ffoulkes, Boeheim, Angellucci, Beaumont, Buttin, Yriarte, Giraud.</p> - -<p><cite>Various MSS.</cite> from the British Museum; Bib. Nat., Paris; Königl. Bibliothek, Berlin; Bodleian -Library; etc. etc.</p> -</div> - - -<hr class="chap pg-brk" /> -<p class="p6" /> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0 antiqua">So yff hit stoode than no wer ware</p> -<p class="verse0 antiqua">Lost were the craffte of Armoreres</p> -<p class="verse8 fs90"><span class="smcap">Lydgate</span>, <cite>The hors, the shepe & the gosse</cite>, line 127</p> -</div></div> -<p class="p6" /> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> -<p class="p6" /> - -<p class="center wsp"><span class="fs180">THE ARMOURER</span><br /> -<span class="fs150">AND HIS CRAFT</span></p> -<p class="p2" /> - -<h2 class="no-brk"><a name="THE_ARMOURER" id="THE_ARMOURER"></a><a href="#CONTENTS">THE ARMOURER</a></h2> - -<p class="drop-capy">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.</p> - -<p>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<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> -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.”</p> - -<p>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.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> -evolution of modern art and, as such, an important factor in the development -of all the arts which follow in the train of conquest.</p> - -<p>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.</p> - -<p>The rules are these:—</p> - -<div class="blockquoty"> -1. Suitability for purpose.<br /> -2. Convenience in use.<br /> -3. Recognition of material.<br /> -4. Soundness of constructional methods.<br /> -5. Subservience of decoration to the preceding rules.<br /> -</div> - -<p>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.</p> - -<p>1. <b>Suitability for purpose.</b>—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 (<a href="#FIG38">Fig. 38</a>). 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<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -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.</p> - -<p>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 (<a href="#PLATE_XXX">Plate 30</a>, <a href="#PLATE_II">2</a>). 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.</p> - -<div><a name="PLATE_I" id="PLATE_I"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE I</em></p> -<img src="images/i_plate_01.jpg" width="600" alt="" /> -<div class="caption"> -ARMOUR FOR THE STECHZEUG<br /> -<span class="fs70">XV-XVI CENT.</span></div> -</div> - -<div class="figleft"> -<a name="FIG1" id="FIG1"></a> -<img src="images/fig1_004.jpg" width="250" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 1.</span> The “glancing surface.”</div> -</div> - -<p>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 (<a href="#APPENDIX_D">Appendix -D</a>) distinctly enjoins that the -rivets on the helm should be filed flat: <span lang="fr" xml:lang="fr">“Et les autres ont la teste -du clou limée affin que le rochet ny prengne.”</span> 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<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -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.</p> - -<div class="figcenter"> -<a name="FIG2" id="FIG2"></a> -<img src="images/fig2_005.jpg" width="450" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 2.</span> Position of lance in jousting (Arch. Journ., LV).</div> -</div> - -<p>2. <b>Convenience in use.</b>—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<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -is moved backwards, for this movement is not necessary in delivering a -blow (see <a href="#Page_52">page 52</a>). 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 <a href="#Page_54">page 54</a>). 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<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -we may be sure that the owner fought on foot (<a href="#PLATE_IX">Plate IX</a>). 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.</p> - -<div class="figcenter"> -<a name="FIG3" id="FIG3"></a> -<img src="images/fig3_006.jpg" width="500" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 3.</span> Back of Pauldrons of A. Statue of Colleoni, Venice.<br /> -<span class="pad30pc">B. Missaglia Suit, Waffensammlung, Vienna.</span></div> -</div> - -<div class="figcenter"> -<a name="FIG4" id="FIG4"></a> -<img src="images/fig4_006.jpg" width="500" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 4.</span> (1) The practical solleret at rest and (2) in action.<br /> -<span class="pad10pc">(3) Unpractical solleret, late sixteenth century.</span></div> -</div> - -<p>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 (<a href="#PLATE_XIII">Plate -XIII</a>). 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 (<a href="#PLATE_X">Plate X</a>). A -second example shown in <a href="#FIG13">Fig. 14</a> 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 (<a href="#PLATE_XXII">Plate XXII</a>). 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 (<a href="#PLATE_I">Plate I</a>).</p> - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p> - -<div><a name="PLATE_II" id="PLATE_II"></a></div> -<div class="figcenter"> -<p class="right padr4 fs70"><em>PLATE II</em></p> -<img src="images/i_plate_02.jpg" width="600" alt="" /> -<div class="caption"> - -<p class="noindent"> -EFFIGY OF RICHARD BEAUCHAMP,<br /> -EARL OF WARWICK<br /> -<span class="fs85">S. MARY’S CHURCH, WARWICK, 1454</span><br /> - -<span class="pad30pc">S. GEORGE, BY MANTEGNA, 1431–1506</span><br /> -<span class="pad30pc fs85">ACCADEMIA, VENICE</span><br /> - -<span class="pad70pc">ARMOUR BY ANTONIO DA</span><br /> -<span class="pad70pc">MISSAGLIA, 1480</span></p> -</div></div> - -<div class="figcenter"> -<a name="FIG5" id="FIG5"></a> -<img src="images/fig5_008.jpg" width="450" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 5.</span> Horse Armour, sixteenth century.<br /> -<br /> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr class="smcap"><td class="tdc">English</td><td class="tdc">French</td><td class="tdc">German</td><td class="tdc">Italian</td><td class="tdc">Spanish</td></tr> -<tr><td class="tdlm">1. chanfron</td><td class="tdlm">chanfrein</td><td class="tdlm">ross-stirn</td><td class="tdlm">testiera</td><td class="tdlm">testera</td></tr> -<tr><td class="tdlm">2. peytral</td><td class="tdlm">poitrail</td><td class="tdlm">brust panzer</td><td class="tdlm">pettiera</td><td class="tdlm">pechera</td></tr> -<tr><td class="tdlm">3. crinet</td><td class="tdlm">crinière</td><td class="tdlmx">{ mähnen panzer<br />{ kanze</td><td class="tdlmx">} collo</td><td class="tdlm">cuello</td></tr> -<tr><td class="tdlm">4. pommel</td><td class="tdlmx">{ pommeau<br />{ arcade de devant</td><td class="tdlmx">} sattel-knopf</td><td class="tdlm">primo arcione</td><td class="tdlm">pomo del arzon</td></tr> -<tr><td class="tdlm">5. cantel</td><td class="tdlmx">{ troussequin<br />{ arcade de derrière</td><td class="tdlm">rückenstück<br />pausch</td><td class="tdlmx">} secondo arcione</td><td class="tdlm">zaguero</td></tr> -<tr><td class="tdlm">6. crupper</td><td class="tdlm">croupière</td><td class="tdlmx">{ krup panzer<br />{ lenden panzer</td><td class="tdlmx">} groppa</td><td class="tdlm">grupera</td></tr> -<tr><td class="tdlm">7. tail-guard</td><td class="tdlm">garde-queue</td><td class="tdlm">schwanzriem panzer</td><td class="tdlm">guardacorda</td><td class="tdlm">guardamalso</td></tr> -<tr><td class="tdlm">8. flanchard</td><td class="tdlmx">{ flançois<br />{ flanchière</td><td class="tdlmx">} flanken panzer</td><td class="tdlm">fiancali</td><td class="tdlm">flanqueras</td></tr> -</table></div> -</div> - -<p>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.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> 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 (<a href="#PLATE_XXIII">Plate XXIII</a>) and in the<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -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,<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -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.</p> - -<div class="figcenter"> -<a name="FIG6" id="FIG6"></a> -<img src="images/fig6_009.jpg" width="500" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 6.</span> Harnischmeister Albrecht, 1480.<br /> -<span class="fs90">From a painting in the Arsenal, Vienna.</span></div> -</div> - -<div class="figleft"> -<a name="FIG7" id="FIG7"></a> -<img src="images/fig7_010.jpg" width="200" alt="" /> -<div class="caption"> -<span class="smcap">Fig. 7.</span> Cuissard for the off hock<br /> -of a horse. Musée Porte de<br /> -Hal, Brussels, IV, 9.</div> -</div> - -<p>3. <b>Recognition of material.</b>—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 (<a href="#PLATE_XII">Plates -XII</a>, <a href="#PLATE_XXI">XXI</a>). 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.</p> - -<p>4. <b>Soundness of constructional methods.</b>—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 (<a href="#Page_55">page 55</a>). -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 (<a href="#Page_52">page 52</a>).</p> - -<p>5. <b>Subservience of decoration to the preceding rules.</b>—The -best suits are practically undecorated, but at the same time there are many<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -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.</p> - -<p>(1) The “glancing surface” was destroyed by elaborate embossing, -generally of meaningless designs, in which the point or edge of a -weapon would catch.</p> - -<p>(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 <a href="#FIG4">Fig. 4</a>). It will be obvious that with such a -foot-covering it would be impossible to walk with ease.</p> - -<p>(3) The observance of this rule may be taken as a matter of course -and its neglect has been noticed above.</p> - -<p>(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.</p> - -<p>(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 (<a href="#PLATE_XIV">Plate XIV</a>).</p> - -<p>It should be noticed that the craftsman of the Renaissance, in spite<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -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.</p> - -<p>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 <a href="#Page_65">page 65</a>. It was the fact that armour <em>was</em> 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 -<a href="#Page_117">page 117</a>).</p> - -<div><a name="PLATE_III" id="PLATE_III"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE III</em></p> -<img src="images/i_plate_03.jpg" width="575" alt="" /> -<div class="caption"> - -ARMOUR OF SIGISMOND OF TIROL, 1427–96 -<span class="pad10pc">ARMOUR OF LOUIS XIV, BY GARBAGNAUS, 1668</span></div> -</div> - -<p>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<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> for -swords, Colin cleeves (Cologne halberds), Toulouse swords, misericordes -of Versy, chapeaux de Montauban (steel hats), Barcelona bucklers,<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -arbalests of Catheloigne, and of course swords of Solingen, Toledo, -and Passau.</p> - -<p>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 <a href="#Page_66">page 66</a>. -Seusenhofer when provided with inferior metal from the mines by -Kugler suggested that it should be classed as “Milanese,” a clear proof<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -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 <cite>Guilds of -Florence</cite> has unfortunately found little of importance -under this heading in the civic records of the city.</p> - -<div class="figleft"> -<a name="FIG8" id="FIG8"></a> -<img src="images/fig8_014.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 8.</span> Arms of the<br /> -Armourers’ Gild, from<br /> -the church of Or San<br /> -Michele, Florence.</div> -</div> - -<p>The <span lang="it" xml:lang="it">“Corazzi e spadai”</span> 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.</p> - -<div class="figright"> -<a name="FIG9" id="FIG9"></a> -<img src="images/fig9_014.jpg" width="200" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 9.</span> S. George, by Hans<br /> -Multscher, 1458, Augsburg.</div> -</div> - -<p>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, <em>circ.</em> 1470, and -we also have a statuette by Hans Multscher at Augsburg, <em>circ.</em> 1458,<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -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 -<cite>Beauchamp Pageants</cite> (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 -(<a href="#PLATE_II">Plate II</a>). 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.</p> - -<div class="figright"> -<a name="FIG10" id="FIG10"></a> -<img src="images/fig10_015.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 10.</span> Richard Beauchamp,<br /> -Earl of Warwick<br /> -(Cot. Jul. E, IV, F, 12 b).</div> -</div> - -<p>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 <cite>Weisz Künig</cite> 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,<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -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 -(<a href="#PLATE_XXIV">Plate XXIV</a>). 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.</p> - -<p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p> - -<div><a name="PLATE_IV" id="PLATE_IV"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE IV</em></p> -<img src="images/i_plate_04.jpg" width="475" alt="" /> -<div class="caption"> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdc">ARMOURERS AT WORK. XV CENT.<br /><span class="fs80">BRIT. MUS. ROY. MS. 16, G. V, FOL. II</span></td><td class="tdc pad3"> </td><td class="tdc">WOODCARVING OF DUKE<br />WILLIAM OF AQUITAINE<br />AND HIS ARMOURER. XV CENT.</td></tr> -<tr><td class="tdc"></td></tr> -<tr><td class="tdc" colspan="3">VENUS AND VULCAN. XIII CENT.<br /><span class="fs80">BERLIN, KÖNIGL. BIB. CODEX MS. GERM. 282, 79</span></td></tr> -</table> -</div></div> - -<p>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<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -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.</p> - -<div class="figcenter"> -<a name="FIG11" id="FIG11"></a> -<img src="images/fig11-12_017.jpg" width="600" alt="" /> -<div class="caption"> - -<p class="noindent"><span class="smcap">Fig. 11.</span> The Westminster Helm, <em>circ.</em> 1500.<br /> -Westminster Abbey. 17 lb. 12 oz.</p> - -<p class="right"><span class="smcap">Fig. 12.</span> The Brocas Helm, Rotunda,<br /> -Woolwich. 22 lb. 8 oz.</p></div> -</div> - -<div class="figcenter"> -<a name="FIG13" id="FIG13"></a> -<img src="images/fig13-14_017.jpg" width="600" alt="" /> -<div class="caption"> - -<p><span class="smcap">Fig. 13.</span> The Fogge Helm, Ashford, Sussex. -24 lb.</p> - -<p class="right"><span class="smcap">Fig. 14.</span> The Barendyne Helm, Great Haseley,<br /> -Oxon. 13 lb. 8 oz.</p></div> -</div> - -<p>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 <a href="#APPENDIX_I">Appendix I</a>, 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,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> and village<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -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 <cite>Remains</cite> under the date 1718. He says: “In -one of the outhouses I saw strange armour which belonged to the -ancestors<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> 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.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> 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 <cite>Almain Armourer’s Album</cite> 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.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> Even as late as the year 1887 the -value of armour was not realized, for in that year two half-suits, stamped<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -with the college mark, were sold from New College, Oxford, as old iron -(<cite>Arms and Armour in Oxford</cite>, C. ffoulkes).</p> - -<p>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 -<i lang="fr" xml:lang="fr">cachet</i> 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 <a href="#Page_59">page 59</a>, 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.</p> - -<div><a name="PLATE_V" id="PLATE_V"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE V</em></p> -<img src="images/i_plate_05.jpg" width="500" alt="" /> -<div class="caption"> - -ARMOURER’S ANVIL AND PINCERS. XVI CENT.<br /> -<span class="fs85">BRITISH MUSEUM, BURGES BEQUEST</span><br /> -<br /> -ANVIL. XIV CENT.<br /> -<span class="fs85">IN THE POSSESSION OF MME. BELLON, AVIGNON</span><br /> -</div></div> - -<p>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 <ins class="corr" title="Transcriber's Note—Original text: 'often exhibition some'">often exhibiting some</ins><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -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 <i lang="fr" xml:lang="fr">poinçon</i> or signature -of the craftsman, which it is almost impossible to imitate, and which at -once proclaims the authorship of the armour.</p> - -<p>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 <a href="#PLATE_III">Plate III</a>. 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.</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> See Regulations of the “Heaumers,” <a href="#APPENDIX_B">Appendix B</a>, p. 171.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <cite>Vetusta Monumenta</cite>, VI, and <cite>Armour and Weapons</cite>, p. 88, C. ffoulkes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Haute Savoye, near Aix-les-Bains.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Charles ffoulkes “Italian Armour at Chalcis,” <cite>Archæologia</cite>, LXII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Sir Henry Lee.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <cite>Arch. Journ.</cite>, June, 1895.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Sir Thomas Gresham’s steelyard in the London Museum is decorated with portions of sword hilts.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="TOOLS_APPLIANCES_ETC" id="TOOLS_APPLIANCES_ETC"></a><a href="#CONTENTS">TOOLS, APPLIANCES, ETC.</a></h2> - -<p class="drop-capy">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.</p> - -<p>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.</p> - -<p>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 <a href="#Page_35">pages 35</a>, <a href="#Page_188">188</a>.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The earliest European illustration of an armourer at work at present -known is to be found in the thirteenth-century <cite>Aeneid</cite> of Heinrich von -Waldec (codex MS. Germ. fol. 282, p. 79) in the Königl. Bib. Berlin<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -(<a href="#PLATE_IV">Plate IV</a>). 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 (<a href="#PLATE_IV">Plate IV</a>) 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.</p> - -<div class="figright"> -<a name="FIG15" id="FIG15"></a> -<img src="images/fig15_023.jpg" width="200" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 15.</span> The Mail-maker (from Jost<br /> -Amman’s <cite>Stände und Handwerker</cite>),<br /> -<em>circ.</em> 1590.</div> -</div> - -<p>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 <cite>Les Clercs et Nobles Femmes</cite> (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.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -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.</p> - -<div class="figleft"> -<a name="FIG16" id="FIG16"></a> -<img src="images/fig16_024.jpg" width="200" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 16.</span> The Armourer (from the<br /> -same source as Fig. 15).</div> -</div> - -<p>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 <i lang="la" xml:lang="la">multum in parvo</i> tools of to-day, -for they include hammer, wire-cutter, nail-drawer, and turnscrew -(<a href="#PLATE_V">Plate V</a>). 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 <cite>Book of Trades</cite>, published in 1590.</p> - -<div><a name="PLATE_VI" id="PLATE_VI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE VI</em></p> -<img src="images/i_plate_06.jpg" width="600" alt="" /> -<div class="caption"> - -MAXIMILIAN AND HIS ARMOURER, CONRAD SEUSENHOFER<br /> -<span class="fs85">FROM THE WEISZ KÜNIG</span></div> -</div> - -<p>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<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -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:—</p> - -<div class="extract"> - -<p class="center"><cite>Arch. Dept. du Nord. Fonds de la Chambre des Comptes de Lille, No. 4401.</cite></p> - -<p class="noindent pad5" lang="fr" xml:lang="fr"> -Une englume et fos a souffler lx s.<br /> -Unes tenailes bicournes, i martel et menus instruments de forge xiii s. vi d.<br /> -Item unes venterieres v s.<br /> - ” xxxviii fers faites xii s. viii d.<br /> - ” sas a cleus, tenons environs v sommes xxi l. v s.<br /> - ” xiii douzaines de fer de Bourgoyne xxii s. vi d.<br /> -</p></div> - -<p>Another early inventory is that of Framlingham Castle, Norfolk, -of the year 1308:—</p> - -<p class="noindent fs80 pad8"> -ix capellae ferratae at iv s.<br /> -iii vices ad eandem tendentes at ii s.<br /> -</p> - -<p>The earliest complete English inventory of tools connected with -the craft of the armourer occurs in the <cite>Accounts of the Constable of -Dover Castle</cite>. Two separate lists are given at different dates, which -may be studied with more convenience if placed side by side:—<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdc" colspan="2"><em>Dec. 20. 17 Edw. III, 1344.</em></td><td class="tdc" colspan="2"><em>Jan. 26. 35 Edw. III, 1361.</em></td></tr> -<tr><td class="tdc" colspan="2">Item in Fabrica.</td><td class="tdc" colspan="2">En la Forge.</td></tr> -<tr><td class="tdl">ij</td><td class="tdl">maides<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></td><td class="tdr">ij</td><td class="tdl">andefeltes de fer<a name="FNanchor_10a_10a" id="FNanchor_10a_10a"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></td></tr> -<tr><td class="tdl">ij</td><td class="tdl">bicorn<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></td><td class="tdr">j</td><td class="tdl">andefelte debruse</td></tr> -<tr><td class="tdl">iij</td><td class="tdl">martellos magnos</td><td class="tdr">j</td><td class="tdl">bikore<a name="FNanchor_11a_11a" id="FNanchor_11a_11a"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></td></tr> -<tr><td class="tdl">iij</td><td class="tdl">martellos parvos</td><td class="tdr">iij</td><td class="tdl">slegges<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></td></tr> -<tr><td class="tdl">ij</td><td class="tdl">tenaces magnas<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></td><td class="tdr">iiij</td><td class="tdl">hammeres</td></tr> -<tr><td class="tdl">v</td><td class="tdl">tenaces parvas<a name="FNanchor_13a_13a" id="FNanchor_13a_13a"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></td><td class="tdr">vj</td><td class="tdl">paires tanges dount deux grosses</td></tr> -<tr><td class="tdl">ij</td><td class="tdl">instrumenta ad ferram cinendum<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></td><td class="tdr">iiij</td><td class="tdl">pensons febles<a name="FNanchor_14a_14a" id="FNanchor_14a_14a"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></td></tr> -<tr><td class="tdl">iiij</td><td class="tdl">instrumenta ferrea ad claves</td><td class="tdr">iij</td><td class="tdl">nailetoules per clause en icels fair<a name="FNanchor_14b_14b" id="FNanchor_14b_14b"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></td></tr> -<tr><td class="tdl"></td><td class="tdl pad3">inficiendos<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></td><td class="tdr">iij</td><td class="tdl">paire bulghes dount une nouvell<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></td></tr> -<tr><td class="tdl">ij</td><td class="tdl">paria flaborum<a name="FNanchor_16a_16a" id="FNanchor_16a_16a"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></td><td class="tdr">j</td><td class="tdl">peer moler<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></td></tr> -<tr><td class="tdl">j</td><td class="tdl">folour de ferro<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></td><td class="tdr">ij</td><td class="tdl">fusels de feer aicele<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></td></tr> -<tr><td class="tdl">j</td><td class="tdl">mola de petra versatilis pro ferreo</td><td class="tdr">j</td><td class="tdl">paire de wynches<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> as meme la peer</td></tr> -<tr><td class="tdl"></td><td class="tdl pad3">acuendo<a name="FNanchor_18a_18a" id="FNanchor_18a_18a"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></td><td class="tdr">j</td><td class="tdl">trow de peer pur ewe<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></td></tr> -<tr><td class="tdl">ij</td><td class="tdl">ligamina de ferreo pro</td><td class="tdr">j</td><td class="tdl">hurthestaf de feer<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></td></tr> -<tr><td class="tdl">j</td><td class="tdl">buketto<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></td><td class="tdr">j</td><td class="tdl">cottyngyre<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></td></tr> -<tr><td class="tdl"></td><td class="tdr"></td><td class="tdr">j</td><td class="tdl">markingyre<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> une cable vels et pourz</td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p> - -<p>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, <ins class="corr" title="Transcriber's Note—Original text: 'but the “hurthestaff”'">but the “hurthestaf”</ins> 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.” <ins class="corr" title="Transcriber's Note—Original text: 'The “cottyngyr” and'">The “cottyngyre” and</ins> -“markingyre” may be found in every blacksmith’s shop to-day as cold-chisels -and marking-iron.</p> - -<p>The next entry bearing upon the subject of tools and workshop -requirements is found in an <cite>Inventory under Privy Seal of Henry VI</cite>, -dated 1485, at which time John Stanley, of Wyrall, Cheshire, was -Sergeant of the Armoury of the Tower.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> Here we find the following -items recorded:—</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">it’m ij yerds iij q’ters of corse rede sylke</td><td class="tdl">}</td><td class="tdl">All splendid and moch</td></tr> -<tr><td class="tdl">It’m d’yerds d’q’reters of rede vele wet</td><td class="tdl">}</td><td class="tdl">more to coom of the</td></tr> -<tr><td class="tdl">It’m iiij grosses of poyntes<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></td><td class="tdl">}</td><td class="tdl">king’s harneys</td></tr> -<tr><td class="tdl">It’m vj armyng nales<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></td><td class="tdl">}</td></tr> -<tr><td class="tdl" colspan="3">It’m hamer, j bequerne, j payr of pynsonys, iij pounde of wyre - which was sold by Mastr. Wylliam Fox amerer</td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> - -<p>The “bequerne” is the same as the “bicorn” mentioned in the -Dover Castle inventory.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="p1 pfs80"><cite>Public Record Office.</cite></p> - -<p class="neginxx fs80"> -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.</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="70%" summary=""> -<tr><td class="tdl"></td><td class="tdc">s.</td><td class="tdc">d.</td></tr> -<tr><td class="tdl">a vyce</td><td class="tdc">xiii</td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a greate bekehorne</td><td class="tdc">lx</td></tr> -<tr><td class="tdl">a smalle bekehorne</td><td class="tdc">xvi</td></tr> -<tr><td class="tdl">a peyre of bellowes</td><td class="tdc">xxx</td></tr> -<tr><td class="tdl">a pype stake<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></td><td class="tdc">iii</td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a Creste stake<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a vysure stake<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a hanging pype stake<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></td><td class="tdc">iv</td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a stake for the hedde pecys<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></td><td class="tdc">v</td></tr> -<tr><td class="tdl">ii curace stakes<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></td><td class="tdc">x</td></tr> -<tr><td class="tdl">iv peyre of Sherys<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></td><td class="tdc">xl</td></tr> -<tr><td class="tdl">iii platynge hamers<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></td><td class="tdc">viii</td></tr> -<tr><td class="tdl">iii hamers for the hedde pecys</td><td class="tdc">v</td></tr> -<tr><td class="tdl">a creste hamer for the hedde peces</td><td class="tdc"></td><td class="tdc">xx</td></tr> -<tr><td class="tdl">ii hamers</td><td class="tdc">ii</td><td class="tdc">viii</td></tr> -<tr><td class="tdl">ii greve hamers<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></td><td class="tdc">iii</td><td class="tdc">iv</td></tr> -<tr><td class="tdl">a meeke hamer<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a></td><td class="tdc"></td><td class="tdc">xvi</td></tr> -<tr><td class="tdl">ii pleyne hamers</td><td class="tdc">ii</td></tr> -<tr><td class="tdl">ii platynge hamers</td><td class="tdc">ii</td></tr> -<tr><td class="tdl">ii chesels wt. an halve</td><td class="tdc"></td><td class="tdc">viii</td></tr> -<tr><td class="tdl">a creste hamer for the curace</td><td class="tdc"></td><td class="tdc">xii</td></tr> -<tr><td class="tdl">ii Rewetinge hamers<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></td><td class="tdc"></td><td class="tdc">xvi</td></tr> -<tr><td class="tdl">a boos hamer<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></td><td class="tdc"></td><td class="tdc">xii</td></tr> -<tr><td class="tdl">xi ffylys<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></td><td class="tdc"></td><td class="tdc">xi</td></tr> -<tr><td class="tdl"><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> - a payre of pynsors</td><td class="tdc"></td><td class="tdc">xviii</td></tr> -<tr><td class="tdl">ii payre of tongs</td><td class="tdc"></td><td class="tdc">xvi</td></tr> -<tr><td class="tdl">a harth stake<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></td><td class="tdc"></td><td class="tdc">vi</td></tr> -<tr><td class="tdl">ii chesels & vi ponchons</td><td class="tdc">ii</td></tr> -<tr><td class="tdl">a watr. trowgh</td><td class="tdc"></td><td class="tdc">xviii</td></tr> -<tr><td class="tdl">a temperinge barrelle</td><td class="tdc"></td><td class="tdc">xii</td></tr> -<tr><td class="tdl">one Andevyle</td><td class="tdc">xx</td></tr> -<tr><td class="tdl">vi stokks to set the Tolys</td><td class="tdc">x</td></tr> -<tr><td class="tdl">xvi dobles at xvi d every doble</td><td class="tdc">xxi</td><td class="tdc">iv</td></tr> -<tr><td class="tdl">xviii quarters of Colys</td><td class="tdc">vi</td><td class="tdc">ix</td></tr> -<tr><td></td></tr><tr><td></td></tr> -<tr><td class="tdl" colspan="3">in alle <span class="pad50pc">xiii li. xvi s. xi d.</span></td></tr> -</table></div> - -<p>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 <span lang="fr" xml:lang="fr">repoussé</span> 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.</p> - -<p>In the illustration given on <a href="#PLATE_VI">Plate VI</a>, taken from Hans Burgmair’s -<cite>Weisz Künig</cite>, 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 <cite>Traité des armes</cite>,<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> -mentions this detail, and again Jean de Saulx-Tavannes<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> mentions -<span lang="fr" xml:lang="fr">“cuirasses battues à froid”</span> when speaking of armour of “proof,” which -is also noticed in the present work under that heading.</p> - -<div><a name="PLATE_VII" id="PLATE_VII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE VII</em></p> -<img src="images/i_plate_07.jpg" width="275" alt="" /> -<div class="caption"> - -ARMOUR OF KURFÜRST MORITZ. BY MATTHAÜS FRAUENPREIS, 1548</div> -</div> - -<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> - -<p>The following extracts from various books and documents relate to -the tools and appliances of the armourer:—</p> - -<div class="extract"> - -<p class="neginyy">1278. <em>Roll of Expenses for a tournament in Windsor Park.</em></p> - -<p class="pad20pc">It qualibet cresta <span class="pad3">j per chaston</span> -</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1300. <em>Wardrobe Expenses of Edward I.</em><a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p> - -<p class="pad4"> -Una Cresta cum clavis argenti pro eodem capello. -</p> - -<p class="neginyy">1301. <em>An indenture on the delivery of the Castle of Montgomery by William de -Leyburn to Hugo de Knoville.</em><a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p> - -<p class="pad4" lang="la" xml:lang="la"> -Unum incudem et i martellum et ii suffletis ovi valoris. -</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1369. <em>Dethe Blaunche, l. 9964.</em> Chaucer.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">As hys brothres hamers ronge</p> -<p class="verse0">upon hys anuelet up and doon.</p> -</div></div> - -<p class="neginyy">1386. <em>Knight’s tale, l. 1649.</em> Chaucer.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">Faste the armurers also</p> -<p class="verse0">with fyle and hamer prikynge to and fro.</p> -</div></div></div> - -<p>This refers to the travelling armourer who accompanied his lord to -the tournament or to war.</p> - -<div class="extract"> - -<p class="neginyy">1465. <em>Acts. of Sir John Howard.</em></p> - -<p class="pad20pc"> -20,000 Bregander nayle <span class="pad3">11s. 8d.</span> -</p></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1460 (?). <em>Ordinances of Chivalry, fol. 123b.</em><a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p> - -<p class="noindent pad5"> -Also a dosen tresses of armynge poyntis.<br /> -Also a hamyr and pynsones and a bicorne.<br /> -Also smale nayles a dosen.<br /> -</p></div> - -<p>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 -<a href="#Page_109">page 109</a>.</p> - -<div class="extract"> - -<p class="neginyy">1513. <cite>Equipage of Henry, Earl of Northumberland.</cite><a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p> - -<p class="noindent pad5"> -Emmery & oile for dressing my Lord’s harnes.<br /> -Leather, bokills & naylles for mendyng my Lords harnes.<br /> -Towles conserning the mending of my Lord’s harnes. Item a payre -of nyppers, a payre of pynsores, a pomyshe,<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> & ij fylles. Item a -small sti’the, a hammer, and all ouy<sup>r</sup> stuffe and tooles belonginge an -armorer. Item viij yards of white blaunkett for trussing of my -Lord’s harnes in.</p></div> - -<p>The emery and oil were used in cleaning the armour and will be -noticed in due course on <a href="#Page_78">page 78</a>. 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 <cite>Hamlet</cite>, 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.</p> - -<div class="extract"> - -<p class="neginyy">1514. <cite>Record Office, 9 July, to John Blewbery.</cite></p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">For a millwheel with stondard, 2 beams & brasys [braces] belonging thereto and two small wheels to drive the glasys</td><td class="tdr">40s.</td></tr> -<tr><td class="tdl">For two elm planks for lanterns for the same mill</td><td class="tdr">5s.</td></tr> -<tr><td class="tdl">13 lbs. of tin at 5d. a lb.</td><td class="tdr">5s.</td><td class="tdr">5d.</td></tr> -<tr><td class="tdl">28 lbs. of white soap for tempering the said mill at 2d. lb.</td><td class="tdr">4s.</td><td class="tdr">10d.</td></tr> -<tr><td class="tdl">500 gauntlet nailes</td><td class="tdr"></td><td class="tdr">8d.</td></tr> -<tr><td class="tdl">100 & a half of iron 4/8, 3 rivetting hamers 2/-</td><td class="tdr">6s.</td><td class="tdr">8d.</td></tr> -<tr><td class="tdl">a payre of pynsers 2/8, 4 crest fylys 4/-</td><td class="tdr">6s.</td><td class="tdr">8d.</td></tr> -<tr><td class="tdl">2 greate fylys</td><td class="tdr">5s.</td></tr> -<tr><td class="tdl">100 & a half of steele for vambraces & gaunteletes</td><td class="tdr">60s.</td></tr> -</table> -</div> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1514. <cite>Record Office, 22 July, to John Blewbery.</cite></p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">for the glasyers of the said mill and one spindle to the same glasyers</td><td class="tdr nowrap">£4 0 0</td></tr> -<tr><td class="tdl">for a grind stone & the beam for the same mill</td><td class="tdr">1 0 0</td></tr> -</table> - -<p><cite>Kings Book of Payments, Record Office.</cite></p> - -<p class="neginyy">1516. <cite>Feb., to Edith, widow of Fountain, millman.</cite></p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">for milling & carriage of harness</td><td class="tdr nowrap">15 0 0</td></tr> -</table> - -<p class="neginyy">1516. <cite>Record Office</cite>, <em>loc. cit.</em>, <em>May, John Hardy, fishmonger</em>.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">4 bundles of Isebrooke stuff for making parts of harness</td><td class="tdr nowrap">£8 6 8</td></tr> -</table> -</div> - -<p>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 <a href="#Page_62">Proving of Armour</a>.</p> - -<div class="extract"> - -<p class="neginyy">1517. <cite>Record Office</cite>, <em>loc. cit.</em>, <em>April, to John de Mery</em>.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">2541 lbs. of steel plates of Isebroke and Lymbrickes stuff</td><td class="tdr nowrap">£26 12 0</td></tr> -</table> -</div> - -<p>The “Lymbricke” metal came from Limburg, in North Brabant.</p> - -<div class="extract"> - -<p class="neginyy">1517. <cite>Record Office</cite>, <em>loc. cit.</em>, <em>May, to Sir Edw. Guylford</em>.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">making two forges & the repairs in the Armory at Southwark</td><td class="tdr nowrap">£19 2 0</td></tr> -</table> - -<p class="neginyy">1520. <cite>Record Office,<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> April, Richd. Pellande, Rauffe Brand, Richd. Cutler, and -Hans</cite>, 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.<br /> - - The glazing-mill was taken down at Greenwich and was set up at -Guisnes with four forges.</p> -</div> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1544. <cite>Cott. App. XXVIII, f 69, Brit. Mus.</cite></p> - -<p class="pad5 noindent">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.)</p> - -<p class="neginyy">1544. <cite>Loc. cit., f. 76. Charges of the King’s Armoury.</cite></p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">Item 8 bundles of steel to the said Armoury for the whole year 38/- the bundle</td><td class="tdrb nowrap">li. xv iiii</td></tr> -<tr><td class="tdl pad3">(Lockers and Millmen are mentioned in this entry.)</td></tr> -</table> -</div> - -<p>On <a href="#Page_31">page 31</a> 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.</p> - -<div class="extract"> - -<p class="neginyy">1544. <cite>Cott. App.</cite><a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> XXVIII, f. 76.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdl">Item for 16 bundles of steel to serve both shops a whole year at 38/- per bundle</td><td class="tdc">li. xxx</td><td class="tdc">viii</td></tr> -<tr><td class="tdl">Item i hide of buff leather every month for both shops at 10/- the hide</td><td class="tdc">vi</td><td class="tdc">x</td></tr> -<tr><td class="tdl">Item to every of the said shops 4 loads of charcoal a month 9/- the load</td><td class="tdc">xl</td><td class="tdc">xix</td></tr> -<tr><td class="tdl">Item for both shops 1 cowhide every month at 6/8 the hide</td><td class="tdc">iv</td><td class="tdc">vi</td><td class="tdc">viii</td></tr> -<tr><td class="tdl">Item 100 of iron every month for both shops at 6/8 the 100</td><td class="tdc">iv</td><td class="tdc">vi</td><td class="tdc">viii</td></tr> -<tr><td class="tdl">Item in wispe steel for both shops every month 15 lbs. at 4d. lb.</td><td class="tdc"></td><td class="tdc">lxv</td></tr> -<tr><td class="tdl">Item in wire monthly to both shops 12 lb. monthly at 4d. the lb.</td><td class="tdc"></td><td class="tdc">lii</td></tr> -<tr><td class="tdl">Item in nayles & buckles for both shops monthly</td><td class="tdc"></td><td class="tdc">lxv</td></tr> -</table> -</div> - -<p>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<sup>c</sup> iiii<sup>xx</sup> iiii<sup>li</sup> ” (£384).</p> - -<p>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.</p> - -<div><a name="PLATE_VIII" id="PLATE_VIII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE VIII</em></p> -<img src="images/i_plate_08.jpg" width="500" alt="" /> -<div class="caption"> - -ARMOUR OF HENRY VIII FOR FIGHTING ON FOOT IN THE LISTS</div> -</div> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1559. <cite>Henry V, iv, chorus.</cite> Shakespeare.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">The Armourers accomplishing the knights</p> -<p class="verse0">With busy hamers closing riuets up.</p> -</div></div></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1562. <cite>State Papers Domestic, Elizabeth, Vol. XXI</cite>, 14.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdlm">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</td><td class="tdrb">vj<sup>li</sup></td><td class="tdrb">xv<sup>s</sup></td></tr> -</table> -</div> - -<p>In this entry are mentioned arming nails, butret nails, hammers, -punshions, sheres, fyles, sand for scouring, cords, points, oyletholes, tow -and butten nails.</p> - -<div class="extract"> - -<p class="neginyy">1574. <cite>State Papers Domestic, Elizabeth, Vol. XCIX</cite>, 50.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdlm">The monthly charge ordinary, vez coles, stele Iron nayles, - buckills & lether &c.</td><td class="tdrb">vij<sup>li</sup></td><td class="tdrb pad1"> </td></tr> -</table></div> - -<p class="neginyy">1593. <cite>Auditor’s Privy Seal Book</cite>, 353.</p> - -<p class="pad5">Elizabeth to the Treasurer & Chamberlain of the Exchequer.</p> - -<p class="pad5 noindent">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.</p> - -<p class="neginyy">1622. <cite>Record Office, Sir Henry Lee’s Accounts of the Armoury.</cite></p></div> - -<p>The following details are mentioned:—</p> - -<div class="extract"> - -<p class="pad5 noindent">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.</p></div> - -<p>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<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -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.</p> - -<div class="extract"> - -<p class="neginyy">1624. <cite>State Papers Domestic, Jac. I, Vol. CLXXX</cite>, 71, 72. <cite>Erection of -Plating-mills by Capt. Martin at Erith.</cite> (This document is quoted -at length in <a href="#APPENDIX_J">Appendix J</a>, p. 188.)</p> - -<table border="0" cellpadding="4" cellspacing="0" width="80%" summary=""> -<tr><td class="tdl">The rates for Plaetes and armors exectly examined for the prices the - strength and lightness considered are thus reduced.</td></tr> -<tr><td class="tdl">The chardge of a tun of Armer plaetes</td><td class="tdr nowrap">£18 0 0</td></tr> -<tr><td class="tdl">Two chaldron of coles wt. carriadge will be</td><td class="tdr">11 2 0</td></tr> -<tr><td class="tdl">Reparation for the mill</td><td class="tdr">12 0</td></tr> -<tr><td class="tdl">The workmen for battering this tun of plaetes 4</td><td class="tdr">0 0</td></tr> -<tr><td class="tdl">The armourers may make them wt due shape black - nayle and lether them for</td><td class="tdr">7 10 0</td></tr> -<tr><td class="tdc">etc. etc.</td></tr> -</table> -</div> - -<p>The entries in this document will be examined fully on <a href="#Page_41">page 41</a>.</p> - -<div class="extract"> - -<p class="neginyy">1631. <cite>Fœdera, xix, p</cite>. 312. Rymer.</p> - -<table border="0" cellpadding="4" cellspacing="0" width="80%" summary=""> -<tr><td class="tdl">Unstriking new fyling russetting new nayling lethering and lyning of a cuirassiers armor</td><td class="tdr nowrap">i iii 0</td></tr> -</table> -</div> - -<p>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 <a href="#APPENDIX_K">Appendix K</a>, page 191.</p> - -<div class="extract"> - -<p class="neginyy">1643. <cite>State Papers Domestic, Car. I, Nov. 20.</cite></p> - -<p class="pad5 noindent">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.</p> - -<p class="neginyy">1644. <cite>State Papers Domestic, Car. I, D, Feb. 26.</cite></p> - -<p class="pad8">Warrant of the Privy seal to Exchequer.</p> - -<p class="pad5 noindent">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.</p> -</div> - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1649. <cite>Parliamentary Survey, Feb., No. 30.</cite></p> - -<p class="pad5 noindent">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.</p> -</div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1660. <cite>Harl. MSS.</cite> 7457.</p> - -<p class="pad5 noindent">A view and Survey of all the Armour and other Munitions or -Habiliaments of Warr remayneing at the Tower of London.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p> - -<p class="pad5">Armorers Tooles.</p> - -<p class="pad5 noindent">Small bickernes, Tramping stakes,<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> Round stake,<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> Welting stake,<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> -straite sheres,<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> fileing tonges, Hamers, Old tew iron,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> Great square -anvill, Bellows, Smiths vices, Threstles.</p></div> - -<p>The entry which refers to the loss of the “Great Bear,” a large -anvil formerly at Greenwich, is given in full in <a href="#APPENDIX_M">Appendix M</a>.</p> - -<p>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<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -to the first quarter of the nineteenth century,<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> 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.</p> - -<p>It is impossible here to give a detailed description of this very -interesting picture, which has been considered elsewhere by the -present author.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> 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.</p> - -<div><a name="PLATE_IX" id="PLATE_IX"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE IX</em></p> -<img src="images/i_plate_09.jpg" width="475" alt="" /> -<div class="caption"> - -FRONT AND BACK OF BRASSARD, 1470<br /> -<br /> -INSIDE OF LEG ARMOUR OF SUIT ON PLATE VIII <span class="pad20pc">CUISSE, 1470</span></div> -</div> - -<div class="figleft"> -<a name="FIG17" id="FIG17"></a> -<img src="images/fig17_036.jpg" width="100" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 17.</span> Burring-machine or “Jenny”<br /> -(see <a href="#FP">frontispiece</a>).</div> -</div> - -<p>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 <cite>Book of Trades</cite>. A small bench-vice -lies near the lower margin of the picture under the -figure of Cupid, and a hand-vice and <span lang="fr" xml:lang="fr">repoussé</span> 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).</p> - -<p>The armour shown, with its strongly marked volutes and decoration,<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -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 <a href="#FP">Frontispiece</a>).</p> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The present writer is commissioning research to this end in Syria, where the craft still survives.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> <cite>Arch. Journ.</cite>, XI, 380.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Anvils.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Bickiron.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Sledge-hammer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Pincers and tongs.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Tools for closing rivets.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Shears.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Bellows.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Rammer (bellows?).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Grindstone.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Spindles (?).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Bucket-hoops.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Winches.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Stone water-trough.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Hearth-stick, poker.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Cutting-iron, shears or cold-chisel.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Marking-iron.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> <cite>Archæologia</cite>, XIV, 123; also Meyrick, <cite>Antient Armour</cite>, II, 119.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> See <a href="#Page_109">page 109</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Rivets.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Round-horned anvil for making tubes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> For beating up a helmet-crest.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> For visors.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Uncertain.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Helmet-stake.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> For the cuirass.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Shears.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Heavy hammers.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> hammers for greaves.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> (?)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Riveting-hammer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Embossing-hammer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Files.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Poker.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Reprint (Clar. Press, Oxon, 1911), edited by Charles ffoulkes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> <cite>Mém. rel. à l’hist. de France</cite> (Paris, 1866), p. 191, col. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> <cite>Archæologia</cite>, XVIII, 305.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Cott. MS., Vit. c. 10, fol. 154.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> <cite>Archæologia</cite>, LVII, also <cite>Arch. Journ.</cite>, IV, 226.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> <cite>Antiquarian Repertory</cite>, IV, 367.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> Pumice-stone.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Expenses of Sir Edw. Guilford, Master of the Armoury.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> See also <a href="#APPENDIX_F">Appendix F</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> <cite>Arch. Journ.</cite>, XI.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Given in full, Meyrick, <cite>Antient Armour</cite>, III, 106.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> A pick? (<cite>Eng. Dialect Dict.</cite>)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Bottom stake.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> For turning over edges of iron.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> This shows that curved shears were also used.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Possibly a nozzle for bellows (<cite>N. E. Dict.</cite>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> <cite>Cabinet Cyclopædia</cite>, “Manufacture of Metals,” Lardner, 1831.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> <cite>Burlington Magazine</cite>, April, 1911. <cite>Zeitschrift für Historische Waffenkunde</cite>, V, 10.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="IRON_AND_STEEL" id="IRON_AND_STEEL"></a><a href="#CONTENTS">IRON AND STEEL</a></h2> - -<p class="drop-capy">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 <cite>Othello</cite>, 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.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Till the seventeenth century English iron seems to have been largely -used for domestic purposes, for we find on examining Professor Rogers’s -<cite>Agriculture and Prices</cite> that German iron is never mentioned, but there<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -are frequent references to English and Spanish metal. The following -prices from the above work show the fluctuations in prices of iron in -England.</p> - -<p class="fs80 pad4 noindent"> -1436. Spanish iron, 24 lb., 1s. 6d., or about £14 the ton.<br /> -1462. Iron, 42 lb. at 5d., or £17 10s. the ton.<br /> -1562. Raw English iron, £12 10s. the ton.<br /> -<span class="pad2h">Bilbow (Bilboa), £11 8s. the ton.</span><br /> -<span class="pad2h">Spanish, £12 the ton.</span><br /> -1570. Iron gun-stocks, made up, £28 the ton.<br /> -1571. Steel bar, £10 the ton.<br /> -<span class="pad2h">Bar steel, £37 4s. the ton.</span><br /> -1584. Spanish iron, £14 the ton. 50 bars to the ton, or about<br /> -<span class="pad4">45 lb. to the bar.</span><br /> -1622. Steel, £32 the ton.<br /> -1623. Spanish iron, £14 10s. to £15 10s.<br /> -1624. Iron bars of 24 lb. at £37 4s. the ton.<br /> -</p> - -<p>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.</p> - -<p>In 1517 an entry in the State Papers Domestic, given on <a href="#Page_31">page 31</a>, -states that 2541 lb. of Isebroke steel cost £26 12s., which gives about -£23 for the ton.</p> - -<p>In the <cite>Sussex Archæological Journal</cite>, 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.”<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> 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 <sup>1</sup>/<sub>16</sub> in. thick.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> Even with these data it is impossible to tell<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -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.</p> - -<p>It would appear that iron in some localities was tainted with some -poison; for in a <cite>Géographie d’Edrisi</cite> quoted in <cite><ins class="corr" title="Transcriber's Note—Original text: 'Gay’s Encylopædia'">Gay’s Encyclopædia</ins></cite>, 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.</p> - -<p>A few details of interest in connection with the manufacture of iron -in England may be gathered from the <cite>Metallum Martis</cite> 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:—</p> - -<p>“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.”</p> - -<div><a name="PLATE_X" id="PLATE_X"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE X</em></p> -<img src="images/i_plate_10.jpg" width="500" alt="" /> -<div class="caption"> - -HELMETS OF HENRY VIII<br /> - -<p class="fs90 pad4 noindent">1, 2. FRONT AND BACK OF HELMET BY THE MISSAGLIAS<br /> -3, 4. ” <span class="pad2">”</span> <span class="pad2">”</span> PART OF THE SUIT SHOWN ON PLATE XII, BY -CONRAD SEUSENHOFER<br /> - 5. BEVOR FOR THE LATTER<br /> -<span class="pad12">THE ARMOURER’S MARKS APPEAR ON 2 AND 4</span></p> -</div></div> - -<p>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<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -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” (<a href="#Page_66">page 66</a>).</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>In considering the weights of suits as given in <a href="#APPENDIX_J">Appendix J</a> 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.</p> - -<p>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:—</p> - -<div class="extract pad2"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdl">Five hundred (weight) of plates will make 20 cuirasses of pistol proofe with pauldrons.</td></tr> -<tr><td class="tdl">Therefore one set will weigh</td><td class="tdl">28 lb.</td></tr> -<tr><td class="tdl">Four hundred (weight) of plates will make 20 pair (or 40 sets) of cuirasses without pauldrons.</td></tr> -<tr><td class="tdl">Therefore one set will weigh</td><td class="tdl">11 lb. 3 oz.</td></tr> -<tr><td class="tdl">Sixteen hundred (weight) of plates will make 20 lance-armours.</td></tr> -<tr><td class="tdl">Therefore one lance-armour<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> will weigh</td><td class="tdl nowrap">89 lb. 10 oz. </td></tr> -<tr><td class="tdl"><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> - Five hundred (weight) of plates will make 20 proof targets.</td></tr> -<tr><td class="tdl">Therefore one target will weigh</td><td class="tdl">28 lb.</td></tr> -<tr><td class="tdl">Twelve hundred (weight) of plates will make 20 pairs (40 sets) of strong cuirasses with caps.</td></tr> -<tr><td class="tdl">Therefore one set of cuirass and cap will weigh</td><td class="tdl">33 lb. 10 oz.</td></tr> -</table> -</div> - -<p>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.</p> - -<p>For comparison with existing suits of which the weights are known -we may use the following details:—</p> - -<div class="extract pad2"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdl"></td><td class="tdl"></td><td class="tdl"></td><td class="tdr">lb. oz.</td></tr> -<tr><td class="tdl">Paris (G, 80), <em>circ.</em> 1588.</td><td class="tdl" colspan="2">Cuirass, arm-pieces, and tassets</td><td class="tdr">73 0</td></tr> -<tr><td class="tdl"></td><td class="tdl" colspan="2">Head-piece</td><td class="tdr">22 0<br />——–</td></tr> -<tr><td class="tdl" colspan="3"></td><td class="tdr">95 0</td></tr> -<tr><td class="tdl nowrap" colspan="2">Stanton Harcourt, Oxon, <em>circ.</em> 1685.</td><td class="tdl">Cuirass</td><td class="tdr">25 0</td></tr> -<tr><td class="tdl" colspan="2"></td><td class="tdl">Head-piece</td><td class="tdr">22 10</td></tr> -<tr><td class="tdl" colspan="2"></td><td class="tdl">Arm-pieces (2)</td><td class="tdr"> 6 0<br />——–</td></tr> -<tr><td class="tdl" colspan="3"></td><td class="tdr">53 10</td></tr> -<tr><td class="tdl" colspan="2">Tower (II, 92), <em>circ.</em> 1686.</td><td class="tdl">Cuirass</td><td class="tdr">27 4</td></tr> -<tr><td class="tdl" colspan="2"></td><td class="tdl">Head-piece</td><td class="tdr"> 7 8</td></tr> -<tr><td class="tdl" colspan="2"></td><td class="tdl">Long gauntlet</td><td class="tdr"> 3 0<br />——–</td></tr> -<tr><td class="tdl" colspan="3"></td><td class="tdr">37 12</td></tr> -<tr><td class="tdl" colspan="2">Tower (II, 92), of XVII cent.</td><td class="tdl">Cuirass</td><td class="tdr">24 0</td></tr> -<tr><td class="tdl" colspan="2"></td><td class="tdl">Head-piece</td><td class="tdr"> 6 8</td></tr> -<tr><td class="tdl pad8" colspan="3">The whole of this suit weighs</td><td class="tdr">48 8</td></tr> -</table> -</div> - -<p>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.</p> - -<p>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 <sup>1</sup>/<sub>16</sub> in. thick, weighing about 6 lb. 4 oz. If the numbers -given on <a href="#Page_41">page 41</a> represent plates and not hundredweights, each plate<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -<sup>1</sup>/<sub>16</sub> 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.</p> - -<p>“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.”<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> The quotation continues: “a sword of Spain.” We find many Solingen and Passau blades bearing -the marks of Spanish sword-smiths.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> This would be a piece about 2 ft. by 3½ in. by 3½ in.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Large plates of horse-armour are about <sup>1</sup>/<sub>16</sub> in. thick.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> For particulars of “lance-armour” see <a href="#APPENDIX_I">Appendix I</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> <cite>Metallum Martis</cite>, p. 37.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_CRAFT_OF_THE_ARMOURER" id="THE_CRAFT_OF_THE_ARMOURER"></a><a href="#CONTENTS">THE CRAFT OF THE ARMOURER</a></h2> - -<p class="drop-capy">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, <cite>De Armorum Fabricatione</cite>, -but it throws no light upon the subject and quotes from Roman -authorities.</p> - -<p>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,<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> but there were two corporations of -wire-drawers in Paris in the thirteenth century mentioned in Étienne -Boileau’s <cite>Livre des Métiers</cite>, written about 1260.</p> - -<div><a name="PLATE_XI" id="PLATE_XI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XI</em></p> -<img src="images/i_plate_11.jpg" width="475" alt="" /> -<div class="caption"> - -BRIGANDINE, OUTSIDE AND INSIDE. XV CENT.<br /> -<br /> -BREASTPLATE FOR BRIGANDINE, 1470, <span class="pad10pc">RIGHT CUISSE OF ARMOUR FOR BARRIERS</span><br /> -SHOWING ARMOURER’S MARK <span class="pad10pc">SHOWING ARMOURER’S MARK</span> -</div> -</div> - -<p>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 (<a href="#FIG15">Fig. 15</a>, -18; also <a href="#PLATE_IV">Plate IV</a>). It is possible that some kind of riveting-pincers -were used, but no specimens of this kind of tool are known.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> 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<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -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 <span lang="fr" xml:lang="fr">“haubert doublier,”</span> <span lang="fr" xml:lang="fr">“haubert à maille -double,”</span> and <span lang="fr" xml:lang="fr">“haubert clavey de double -maille”</span> are found in French inventories, -and in the inventory of Louis X which -has been quoted before we find <span lang="fr" xml:lang="fr">“33 -gorgieres doubles de Chambli, un pans et -uns bras de roondes mailles, une couverture -de mailles rondes demy cloies.”</span> -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 <span lang="fr" xml:lang="fr">“demy cloues”</span> -was probably mail in which the ends of -the links were closed with only one rivet. -The <span lang="fr" xml:lang="fr">“maile roond”</span> 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.</p> - -<div class="figright"> -<a name="FIG18" id="FIG18"></a> -<img src="images/fig18_045.jpg" width="200" alt="" /> -<div class="caption"> - -<span class="smcap">Fig.</span> 18. Method of making mail. -</div></div> - -<p>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 <cite>Armour and Weapons</cite> (<a href="#PLATE_I">Plate I</a>) 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).</p> - -<div class="figleft"> -<a name="FIG19" id="FIG19"></a> -<img src="images/fig19_045.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig.</span> 19. Sculptured representation<br /> -of (1) double and (2) single<br /> -mail on the effigy of R. de Mauley,<br /> -1242, formerly in York Minster<br /> -(<cite>Archæologia</cite>, XXXI). -</div></div> - -<p>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<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -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,<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> 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).</p> - -<div class="figleft"> -<a name="FIG20" id="FIG20"></a> -<img src="images/fig20_046.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig.</span> 20. Coif of Mail, (1) Effigy of William<br /> -Mareschal, Earl of Pembroke, Temple Church.<br /> -(2) Effigy in Pershore Church, Worcs.<br /> -(from Fairholt). -</div></div> - -<p>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.</p> - -<p>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.”</p> - -<div class="figright"> -<a name="FIG21" id="FIG21"></a> -<img src="images/fig21-22_046.jpg" width="250" alt="" /> -<div class="caption"> - -<p class="noindent"><span class="smcap">Fig.</span> 21. Attachment of Camail,<br /> -effigy of Sir R. Pembridge,<br /> -Clehonger Church, Hereford.</p> - -<p class="right"><span class="smcap">Fig.</span> 22. Attachment<br /> -of Camail.</p> -</div> -</div> - -<p>In both painted and sculptured records the methods of representation -differ considerably from those employed to suggest the ordinary -mail of interlaced rings.</p> - -<p>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.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p> - -<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> - -<div class="figcenter"> -<a name="FIG23" id="FIG23"></a> -<img src="images/fig23_047.jpg" width="600" alt="" /> -<div class="caption"> - -<span class="smcap">Fig.</span> 23. Banded Mail.<br /> - -<p class="noindent pad20pc">1, 2, 3. Suggested reinforcements of chain mail by leather thongs.<br /> -4. Rings covered with leather; 5, section of same.<br /> -6. Meyrick’s suggestion; 7, section of same.<br /> -8. From <cite>Romance of Alexander</cite>, Bib. Nat., Paris, <em>circ.</em> 1240.<br /> -9. Effigy at Newton Solney, Derbs; 10, section of same.</p> -</div> -</div> - -<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p> - -<p>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,<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> 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.</p> - -<p>The drawing from the <cite>Romance of Alexander</cite> 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.</p> - -<p>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.</p> - -<p>The wearing of mail survived longer than is generally supposed. -Holinshed, writing in 1586 (<a href="#Page_90">page 90</a> of the present work), mentions -shirts of mail as part of the ordinary equipment of the foot-soldier. On -Plate 8 of Derricke’s <cite>Image of Ireland</cite> 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 (<cite>The Art of Warre</cite>), distinctly states -that the arquebussiers wore a shirt of mail (see <a href="#Page_115">page 115</a>).</p> - -<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> - -<div><a name="PLATE_XII" id="PLATE_XII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XII</em></p> -<img src="images/i_plate_12.jpg" width="450" alt="" /> -<div class="caption"> - -ARMOUR PRESENTED TO HENRY VIII BY THE EMPEROR MAXIMILIAN,<br /> -MADE BY CONRAD SEUSENHOFER, 1514 -</div></div> - -<p>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 <a href="#Page_150">page 150</a>). -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.</p> - -<p>As may be seen on <a href="#PLATE_XI">Plate XI</a> and <a href="#FIG36">Fig. 36</a>, 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.</p> - -<div class="figright"> -<a name="FIG24" id="FIG24"></a> -<img src="images/fig24_049.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 24.</span> Figure wearing Jack<br /> -(from <cite>Chasse of S. Ursula</cite>, by<br /> -Memling, 1475–85, Bruges). -</div></div> - -<p>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,<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> 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.</p> - -<p>The jack or canvas coat of Sir John Willoughby, -<em>temp.</em> 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<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> -1164 metal plates<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> (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 <cite>Guide to the Mediæval -Room</cite> on <a href="#Page_62">page 62</a>.</p> - -<div class="figleft"> -<a name="FIG25" id="FIG25"></a> -<img src="images/fig25_050.jpg" width="175" alt="" /> -<div class="caption"> - -<p class="noindent"><span class="smcap">Fig. 25.</span> Construction of Jack.<br /> - -<span class="pad2">A. Outside.</span><br /> -<span class="pad2">B. Plates with cover</span><br /> -<span class="pad2">and cords removed.</span></p> -</div></div> - -<div class="figright"> -<a name="FIG26" id="FIG26"></a> -<img src="images/fig26_050.jpg" width="200" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 26.</span> Brigandine at Vienna,<br /> -No. 130. -</div></div> - -<p><span class="nowrap">The brigandine was sometimes</span> 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.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> On one of the -plates is a mark which strongly resembles the -mark of Antonio Missaglia (see <a href="#PLATE_XI">Plates XI</a>, <a href="#PLATE_XVI">XVI</a>). -These brigandines with solid breast-pieces are -described in <a href="#APPENDIX_D">Appendix D</a>, 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, <em>circ.</em> 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<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -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).</p> - -<div class="figright"> -<a name="FIG27" id="FIG27"></a> -<img src="images/fig27_051.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 27.</span> S. Victor, by<br /> -Van der Goes, Glasgow.</div> -</div> - -<div class="figleft"> -<a name="FIG28" id="FIG28"></a> -<img src="images/fig28_051.jpg" width="300" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 28.</span> Effigy at Ash Church, Kent, fourteenth century.</div> -</div> - -<p>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 <i lang="fr" xml:lang="fr">tour -de force</i> which few metal-workers to-day could -imitate.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> 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<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -on <a href="#Page_62">“Proof,”</a> 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.</p> - -<div class="figleft"> -<a name="FIG29" id="FIG29"></a> -<img src="images/fig29_051.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 29.</span> Statue of S. George,<br /> -Prague, 1375.</div> -</div> - -<p>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.</p> - -<div class="figleft"> -<a name="FIG30" id="FIG30"></a> -<img src="images/fig30_052.jpg" width="300" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 30.</span> Sliding rivet showing (1) front, (2) side,<br /> -(3) back.</div> -</div> - -<p>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 <i lang="fr" xml:lang="fr">revêtir</i>, 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<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -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.</p> - -<div><a name="PLATE_XIII" id="PLATE_XIII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XIII</em></p> -<img src="images/i_plate_13.jpg" width="500" alt="" /> -<div class="caption"> - -ARMET OF SIR HENRY LEE, BY JACOB TOPF, 1530–1597</div> -</div> - -<p>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 <a href="#Page_6">page 6</a>, 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 <a href="#FIG7">Fig. 7</a> and on <a href="#PLATE_IX">Plate IX</a>.</p> - -<p>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<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> -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).</p> - -<div class="figleft"> -<a name="FIG31" id="FIG31"></a> -<img src="images/fig31_054.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 31.</span> Sections of Rerebraces.<br /> - -<p class="noindent pad4"> -1. “Engraved Suit,” Tower, II, 5, 1514.<br /> -2. Tower, II, 6, 1540.<br /> -3. Tower, II, 7, 1570.<br /> -4. Wallace Collection, 340.<br /> -</p> -</div></div> - -<p>A similar rim and collar are found on close helmets and gorgets of -the sixteenth century (<a href="#PLATE_XIII">Plate XIII</a>). Meyrick,<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> misreading Fauchet’s<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> -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 <em>prevents</em> any possible -movement.</p> - -<p>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<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -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).</p> - -<div class="figright"> -<a name="FIG32" id="FIG32"></a> -<img src="images/fig32_055.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 32.</span> Locking<br /> -Gauntlet of Sir Henry Lee,<br /> -Armourers’ Hall, London.</div> -</div> - -<p>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.</p> - -<p>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 <a href="#PLATE_XXII">Plate XXII</a>).</p> - -<div class="figleft"> -<a name="FIG33" id="FIG33"></a> -<img src="images/fig33_055.jpg" width="300" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 33.</span> Locking hooks, turning pins, and strap-cover.</div> -</div> - -<p>A few of the fastenings -used to hold the different -parts of the suit together are -shown on Fig. 33. The<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> -hook (No. 1) is found on the armets made by Topf (<a href="#Page_21">page 21</a> and <a href="#PLATE_XIII">Plate -XIII)</a>. 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.</p> - -<div class="figright"> -<a name="FIG34" id="FIG34"></a> -<img src="images/fig34_057.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 34.</span> Bracket for jousting-sallad<br /> -and reinforcing bevor, Dresden, C, 3, 4.</div> -</div> - -<p>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<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -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. (<a href="#PLATE_VIII">Plate VIII</a>). 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 <a href="#PLATE_XI">Plate XI</a> -and the inside of the cuisse of the Tower suit -on <a href="#PLATE_IX">Plate IX</a>. 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.</p> - -<div><a name="PLATE_XIV" id="PLATE_XIV"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XIV</em></p> -<img src="images/i_plate_14.jpg" width="500" alt="" /> -<div class="caption"> - -PARADE ARMOUR<br /> - -<p class="noindent pad4"> -1. FOR KING SEBASTIAN OF PORTUGAL, BY ANTON PEFFENHAUSER, 1525–1603<br /> -2. FOR CHARLES V, BY BARTOLOMEO CAMPI, 1546<br /> -</p></div> -</div> - - -<p class="p2 pfs90">THE MAKING OF ARMOUR IN ENGLAND, FROM -CONTEMPORARY DOCUMENTS</p> - -<div class="extract"> - -<p class="neginyy">1321. Edward II sends David le Hope, armour-smith, to Paris to learn -the method of making sword-blades for battle.</p> - -<p class="neginyy">1322. Regulations concerning the covering of helmets with fabric and the -selling of old and broken helmets. <cite>Arm. Co., Lond.</cite> (see <a href="#APPENDIX_A">Appendix A</a>).</p> - -<p class="neginyy">1347. Regulations of the Heaumers’ Co. <cite>City of London Letter Book, F, -fol. cxlii</cite> (see <a href="#APPENDIX_B">Appendix B</a>).</p> - -<p class="neginyy">1355. The Mayor and Sheriffs of London ordered to appraise the armour -in the armourers’ shops. <cite>Rymer, III, v</cite>, 817.</p> - -<p class="neginyy">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.” -<cite>Rymer, III</cite>, 772.</p> - -<p class="neginyy">1386. Armourers are forbidden to increase the prices of their wares. -<cite>Rymer, III</cite>, 546.</p> - -<p><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span></p> - -<p class="neginyy">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. <cite>City -of London Letter Books, 1, fol. lxxi.</cite></p> - -<p class="neginyy">1434. This is very similar to the Ordinances of the Hastings MS. noticed -in <cite>Archæologia</cite>, LVII. It is given here in full, as it is the only -literary effort of an armourer that is known in England. <cite>Treatise -on Worship in Arms</cite>, by Johan Hill, armourer (Bod. Lib. Ash., 856) -(see <a href="#APPENDIX_C">Appendix C</a>).</p> - -<p class="neginyy">1436. Proclamation forbidding the armourers to increase their prices. -<cite>Fœdera</cite>, Rymer, X, 647.</p> - -<p class="neginyy">1509. Sir Nicholas Vaux, Lieutenant at Guisnes, orders all the garrison to -be English except gunners, crossbow-makers, spies, beer-brewers, -armourers, and smiths. <cite>Cal. State Papers, Hen. VIII, Vol. I.</cite></p> - -<p class="neginyy">1511. Payments made for a forge for Milanese armourers at Greenwich.</p> - -<p class="neginyy">1514. The armourers from Brussels are installed by Henry VIII at -Greenwich.</p> - -<p class="neginyy">1515. Almain or German armourers mentioned as King’s servants.</p> - -<p class="neginyy">1544. A complete account of the charges of the King’s Armoury, with -wages of the workmen. <cite>Brit. Mus., Cott. App. XXVIII</cite>, 75 (see -<a href="#APPENDIX_F">Appendix F</a>).</p> - -<p class="neginyy">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 <cite>Considerations delivered to Parliament in 1559</cite> 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 (<a href="#Page_40">p. 40</a>), -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.</p> - -<p class="neginyy">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.” -<cite>Records Arm. Co., London.</cite></p> - -<p><span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span></p> - -<p class="neginyy">1580. Sir Henry Lee made Master of the Armouries.</p> - -<p class="neginyy">1590. Petition of the armourers of London to Queen Elizabeth against the -importation of foreign armour and workmen. <cite>Lansdowne MS.</cite>, -63, 5 (see <a href="#APPENDIX_G">Appendix G</a>).</p> - -<p class="neginyy">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. <cite>State Papers Domestic, Jac. I, lxiv, June 8.</cite></p> - -<p class="neginyy">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. <cite>Sign. Man., Vol. IV</cite>, 29.<br /> - - This suit, made for Henry, Prince of Wales, is now in the -Royal Collection at Windsor (see <a href="#PLATE_XX">Plate XX</a>).</p> - -<p class="neginyy">1618. Undertaking of the Armourers’ Company to make certain armours -every six months and the prices of the same. <cite>Records of the -Armourers’ Company of London</cite> (see <a href="#APPENDIX_H">Appendix H</a>).</p> - -<p class="neginyy">1619. Proclamation against the excessive use of gold and silver foliate -except for armour and ensigns of honour. <cite>S.P.D. Jac. I, cv, Feb., -Proclamations</cite>, 65 (see <a href="#APPENDIX_I">Appendix I</a>).</p> - -<p class="neginyy">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. <cite>Reliquary, Vol. III.</cite></p> - -<p class="neginyy">1624. Erection of plating-mills at Erith by Capt. John Martin. <cite>S.P.D. -Jac. I, clxxx</cite>, 71 (see <a href="#APPENDIX_J">Appendix J</a>).</p> - -<p class="neginyy">1625. Falkner asks for an inquiry as to the condition of the Royal -Armouries. <cite>S.P.D. Car. I, xiii</cite>, 96.</p> - -<p class="neginyy">1627. Report of George, Earl of Totnes, on Falkner’s petition advising -John Cooper, Keeper of the King’s Brigandines, to surrender his -patent. <cite>S.P.D. Car I, liv</cite>, 1.<br /> - - Cooper refuses to surrender unless his arrears of 16d. a day for a year -and a half are paid. <cite>S.P.D. Car. I, lv</cite>, 70.</p> - -<p class="neginyy">1627. Petition of Falkner (Fawcknor) as to the condition of the armouries. -<cite>S.P.D. Car. I, lxxxiv</cite>, 5.</p> - -<p class="neginyy">1628. Order to gun-makers, saddlers, and cutlers to bring patterns of their -wares. <cite>S.P.D. Car. I, xcv</cite>, March 10.</p> - -<p class="neginyy">1628. Whetstone’s project to make armour lighter and as good as proof. -<cite>S.P.D. Car. I, lxxxix</cite>, 23. No details as to the process are given -in this entry.</p> - -<p><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p> - -<p class="neginyy">1630. Inquiry into the work done in the State armouries of the Tower, -Greenwich, etc., with lists of the Remaines, moved by Roger -Falkenor. <cite>S.P.D., clxxix</cite>, 65. The whole of this document is -given in <cite>Antient Armour</cite>, Sir S. Meyrick, III, 78.</p> - -<p class="neginyy">1631. Regulations respecting the use of a hall-mark by the Armourers’ -Company. <cite>Rymer, XIX</cite>, 309 (see <a href="#APPENDIX_K">Appendix K</a>).</p> - -<p class="neginyy">1635. Petition of the Workmen Armourers of London who are now old -and out of work. <cite>S.P.D. Car. I, cclxxxix</cite>, 93 (see <a href="#APPENDIX_L">Appendix L</a>).</p> - -<p class="neginyy">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.” <cite>S.P.D. Car. I, cccxli</cite>, 132.</p> - -<p class="neginyy">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. <cite>Harl. MS.</cite> 7457 (see -<a href="#APPENDIX_M">Appendix M</a>).</p> - -<p class="neginyy">1666. “Armour of the Toyras provision with headpeeces whereof made -in England to be worn with the said armes.” <cite>Tower Inv. sub ann.</cite> -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.”</p> - -<p class="neginyy">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.</p> - -<p class="neginyy">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. <cite>Records of the -Company.</cite></p></div> - -<div><a name="PLATE_XV" id="PLATE_XV"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XV</em></p> -<img src="images/i_plate_15.jpg" width="600" alt="" /> -<div class="caption"> - -ALEGORIA DEL TACTO, BY JAN BRUEGHEL, CIRC. 1600<br /> -PRADO, MADRID</div> -</div> - -<p>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.<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -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 (<a href="#APPENDIX_J">Appendix J</a>). 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.</p> - -<p>A list of English armourers is given on <a href="#Page_126">page 126</a>.</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> <cite>The History of Inventions.</cite> Beckman.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> See <cite>Dover Castle Inventory</cite>, p. 25. The “nailtoules” may have been used for this purpose.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> <cite>Archæologia</cite>, LXII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> <cite>Arch. Journ.</cite>, XXXVII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> <cite>Archæologia</cite>, LIX.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> <cite>Historia Anglicana</cite>, Rolls Series, p. 457.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> <cite>Arch. Journ.</cite>, LX.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> “Italian Armour at Chalcis,” C. ffoulkes, <cite>Archæologia</cite>, LXII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> Cf. Baron de Cosson, <cite>Arch. Journ.</cite>, XXXVII, p. 79.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> <cite>Antient Armour</cite>, II, 164.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> <cite>Origines des Chevalivers, etc.</cite>, 1606, p. 142.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_PROOF_OF_ARMOUR" id="THE_PROOF_OF_ARMOUR"></a><a href="#CONTENTS">THE PROOF OF ARMOUR</a></h2> - -<p class="drop-capy1">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 <span lang="fr" xml:lang="fr">“estramaçon”</span> or sword blow.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> - -<p>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 <span lang="fr" xml:lang="fr">“haute cloueur,”</span> <span lang="fr" xml:lang="fr">“demi-cloueur,”</span> -<span lang="fr" xml:lang="fr">“botte cassée,”</span> and <span lang="fr" xml:lang="fr">“botte.”</span></p> - -<p>M. Charles Buttin,<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> 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 <span lang="fr" xml:lang="fr">“cassée”</span> he takes to be derived also from the Italian “casso,” -vain or empty.</p> - -<p>The term <span lang="fr" xml:lang="fr">“haute”</span> or <span lang="fr" xml:lang="fr">“demi-cloueurs”</span> 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 <a href="#Page_44">page 44</a>).</p> - -<p>Mail seems to have been proof against arrows at a very early period, -for we find in the <cite>Chronicon Colmariense</cite>, under the year 1398, the -statement that the men-at-arms wore <span lang="la" xml:lang="la">“camisiam ferream, ex circulis -ferreis contextam, per quae nulla sagitta arcus poterat hominem vulnerare.”</span> -The earliest entry of this mail of proof is found in the Inventory<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span> -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.</p> - -<div class="extract"> - -<p class="neginyy">1316. <cite>Inventory of Louis le Hutin. Bib. Richel., MS. fr.</cite>, 7855.</p> - - <div lang="fr" xml:lang="fr"> -<p class="pad5 noindent">Item uns pans<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> et uns bras de roondes mailles de haute cloueur.<br /> - -Uns de meme d’acier plus fors.</p> - -<p class="pad6 negin1">Item uns couverture a cheval ... de jaseran de fer, uns de mailes -rondes demy clouées.</p> - </div> -</div> - -<p>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 <cite>Armour and Weapons</cite>, and -also in <cite>Monumenta Vetusta</cite>, Vol. VI.</p> - -<div class="extract"> - -<p class="neginyy">1390. <cite>Archives Camerales de Turin Comptes Tres. gen. de Savoie, No. 38, -fol. 62v.</cite></p> - -<p class="pad6 negin1" lang="fr" xml:lang="fr">Achettez de Simond Brufaler armeur, de mons ... per le pris de -un auberjon d’acier de toute botte.</p></div> - -<p>This expression <span lang="fr" xml:lang="fr">“de toute botte”</span> 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 <cite>Metallica</cite> 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 <span lang="it" xml:lang="it">“due e tre colpi dell’ -arma alla quale dovevano resistere.”</span><a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p> - -<p>The proof by the crossbow is mentioned by Angellucci in a note, -quoting from the <cite>Arch. Gonz. Copialett.</cite>, T. II, c. 65: <span lang="it" xml:lang="it">“et si te manderemo -doi veretoni di nostri saldi, como i quali tu farai aprovare la ditta -coraza corno uno bono balestro di cidello.”</span><a name="FNanchor_80a_80a" id="FNanchor_80a_80a"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> The last-mentioned weapon -is the <span lang="fr" xml:lang="fr">“arbalest à tour”</span> or windlass crossbow. It would seem from -M. Buttin’s researches that the armour <span lang="fr" xml:lang="fr">“à toute épreuve”</span> was proved by<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -crossbow and sword, and that <span lang="fr" xml:lang="fr">“à demi épreuve”</span> 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 <a href="#Page_65">page 65</a>). In some documents we have -definite entries of arrows used for proof, which would naturally have -exceptionally well-tempered points:—</p> - -<div class="extract"> - -<p class="neginyy">1378. <cite>Reg. de la Cloison d’Angers, No. 6.</cite></p> - -<p class="pad6 negin1" lang="fr" xml:lang="fr">Pour deux milliers de fer pour viretons partie d’espreuve et autre -partie de fer commun.</p></div> - -<p>The “vireton” was a crossbow-bolt which had spiral wings of -metal or wood so fitted that it revolved in its course.</p> - -<div class="extract"> - -<p class="neginyy">1416. <cite>Compt de Gilet Baudry, Arch. Mun. Orleans.</cite></p> - -<p class="pad6 negin1" lang="fr" xml:lang="fr">Flêches à arc empannées a cire et ferres de fers d’espreuve.</p></div> - -<p>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.</p> - -<p>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.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p> - -<p>Details of the regulations of setting proof marks upon armour will -be found in <a href="#APPENDIX_B">Appendices B</a>, <a href="#APPENDIX_E">E</a>, <a href="#APPENDIX_K">K</a>.</p> - -<p>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 (<a href="#PLATE_X">Plate X</a>). 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.</p> - -<div><a name="PLATE_XVI" id="PLATE_XVI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XVI</em></p> -<img src="images/i_plate_16.jpg" width="500" alt="" /> -<div class="caption"> - -<p class="pad20pc noindent"> -1. VENETIAN SALLAD COVERED WITH VELVET, XVI CENT.<br /> -2. BACK PLATE OF BRIGANDINE COVERED WITH FABRIC, 1470<br /> -3. MORION WITH COVER, XVI-XVII CENT.<br /> -4. SURCOAT OF THE BLACK PRINCE</p></div> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1347. <cite>Regulations of the Heaumers of London</cite> (original in Norman-French), -<cite>City of London Letter Book, F, fol. cxlii</cite>.</p> - -<p class="pad5 noindent">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 <a href="#APPENDIX_B">Appendix B</a>).</p></div> - -<div class="extract"> - -<p class="neginyy">1448. <cite>Statutes des Armuriers Fourbisseurs d’Angers.</cite></p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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 -<a href="#APPENDIX_E">Appendix E</a>).</p></div> - -<p>The <span lang="fr" xml:lang="fr">“arbaleste à tilloles”</span> was the large bow bent with a windlass, -the <span lang="fr" xml:lang="fr">“arbaleste à crocq”</span> was smaller and was bent with a hook fastened -to the waist of the archer (see Payne Gallwey, <cite>The Crossbow</cite>).</p> - -<div class="extract"> - -<p class="neginyy">1537. <cite>Discipline Militaire</cite>, Langey, I, chap, xxii, pp. 79, 80.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">... 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.</p></div> - -<p>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 <cite>Les Rêveries</cite><a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> 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.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a></p> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1569. <cite>Arch. cur. de Nantes</cite>, I, col. 305.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">612 corps de cuyrace ... garnis de haulzecou ... desquelz le -devant sera a l’espreuve d’arquebuse et le derrière de pistol.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1568. <cite>Les Armuriers français et étrangers</cite>, Giraud, pp. 191, 192.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p></div> - -<p>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 <cite>Archæologia</cite>, 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.</p> - -<p>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<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -Offyce and of the metall of Houngere<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> 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.”</p> - -<p>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.</p> - -<p>It may be only romance or it may be fact, but certainly Oliver de -la Marche,<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> writing about the year 1450, describes some such process -of tempering armour after it was made. <span lang="fr" xml:lang="fr">“Boniface avoit trempe son -harnois d’une eau qui le tenoit si bon que fer ne povoit prendre sus.”</span> -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 <cite>Catalogue of the -Armeria Reale, Turin</cite> (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.</p> - -<div class="extract"> - -<p class="neginyy">1602. <cite>Milice français</cite>, Montgomery, Pt. II, p. 187.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">Les chevau-légers estoient armez d’armes complètes d’une cuirasse -à l’épreuve. Le reste estoit à la légère.</p></div> - -<p>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<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> -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.</p> - -<p>Still there are cases to be found of complete proof, for in 1605 even -the brayette was of proof (<cite>Arch. Gov. Brescia Privil., R. 7, V</cite>, p. 10),<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> -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.</p> - -<p>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 <cite>Memorials -of the Verney Family</cite>, IV, 30, gives us some information as regards the -proof of armour:—</p> - -<div class="extract"> - -<p class="neginyy">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.</p></div> - -<p>This rough-and-ready method of estimating the charge is borne out -in Gaya’s <cite>Traité des Armes</cite>, p. 30 (Reprint 1911, Clarendon Press).</p> - -<p>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.”</p> - -<div><a name="PLATE_XVII" id="PLATE_XVII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XVII</em></p> -<img src="images/i_plate_17.jpg" width="400" alt="" /> -<div class="caption"> - -CAST OF IVORY CHESSMAN, XIV CENT.<br /> -<br /> -IVORY MIRROR CASE, XIV CENT.</div> -</div> - -<p>This suit cost £14 2s. 8d., and when it was delivered Verney was -by no means pleased, as it did not fit.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> 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<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> in noticing this suit describes it as -<span lang="fr" xml:lang="fr">“La magnifique armure offerte à Louis XLV par la République de Venise,”</span> -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<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -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 <a href="#APPENDIX_K">Appendix K</a>.</p> - -<div class="figcenter"> -<a name="FIG35" id="FIG35"></a> -<img src="images/fig35_069.jpg" width="350" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 35.</span> Detail showing proof mark on breast of suit of<br /> -Louis XIV, Mus. d’Art, Paris, G, 125.</div> -</div> - -<p>Gaya in his <cite>Traité des Armes</cite>, 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<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -tested with <span lang="fr" xml:lang="fr">“estramaçon”</span> or sword-cut; and he adds that for armour -to be good it must be beaten and worked cold and not hot.</p> - -<p>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 <span lang="fr" xml:lang="fr">poinçon</span> of the armourer, -which invariably means that the piece is of good workmanship and -worthy of notice.</p> - -<p>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.</p> - -<p>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.</p> - -<p>About the year 1390 we have the following entry:—</p> - -<div class="extract"> - -<p class="pad2 negin1" lang="fr" xml:lang="fr">Achetiez de Symond Brufaler armeur ... 1 auberion d’acier de botte -cassé duquel toutes les mailes sunt seignier du seignet du maistre.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a></p></div> - -<p>This shows that in some cases every link of mail was stamped with -the armourer’s mark. In Oriental mail letters and sometimes words<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -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.</p> - -<p>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).</p> - -<p>This probably refers to a trade-mark or <span lang="fr" xml:lang="fr">poinçon</span> 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 (<cite>Guide des -Amateurs d’Armes</cite>) 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.</p> - -<div class="figright"> -<a name="FIG36" id="FIG36"></a> -<img src="images/fig36_071.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 36.</span> Proof marks on a<br /> -Brigandine plate, Darmstadt<br /> -Museum (full size).</div> -</div> - -<p>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 -<a href="#Page_150">Table of Marks, 59</a>). In brigandines we sometimes find each of the -small plates stamped with the maker’s mark, which is held to be evidence -of “proof.”</p> - -<p>As we have seen from the entry under the date 1448, on <a href="#Page_65">page 65</a>, -the single stamp signified proof against the small crossbow and the double -stamp proof against the heavy windlass-bow.</p> - -<p>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.</p> - -<p>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 <a href="#APPENDIX_B">Appendix B</a>.</p> - -<p>In Rymer’s <cite>Fœdera</cite> (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<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -£ 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.</p> - -<p>The only entry extant which actually refers to the making of these -stamps for armourers is given in the <cite>Mem. de la Soc. Arch. de Touraine, -T. XX, pp. 268–9</cite> (<cite>Arch. de Tours, Grandmaison</cite>).</p> - -<div class="extract"> - -<p class="neginyy" lang="fr" xml:lang="fr">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.<br /> - -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.</p></div> - -<p>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 <a href="#Page_148">page 148</a>.</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> Gaya, <em>op. cit.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> <cite>Revue Savoisienne</cite>, 1906, fasc. 4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Panzer, body-armour.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> <cite>Cat. Armeria Reale Turin</cite>, 129.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> <cite>Rev. Savoisienne</cite>, 1906, fasc. 4, p. 3.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> Edit. 1756, p. 58.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Hungarian or Innsbruck iron.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> <cite>Memories</cite>, I, xxi (edit. 1884).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> <cite>Cat. Armeria Reale Turin</cite>, p. 73 note.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> See <a href="#Page_105">page 105</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> <cite>Rev. Savoisienne</cite>, 1901, fasc. 2 and 3.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Arch. Cam. de Turin, Compte des Très. gén. de Savoie, Vol. XXXIX, f. 163.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_DECORATION_OF_ARMOUR" id="THE_DECORATION_OF_ARMOUR"></a><a href="#CONTENTS">THE DECORATION OF ARMOUR</a></h2> - -<p class="drop-capy">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 <span lang="fr" xml:lang="fr">repoussé</span> 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.</p> - -<div><a name="PLATE_XVIII" id="PLATE_XVIII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XVIII</em></p> -<img src="images/i_plate_18.jpg" width="600" alt="" /> -<div class="caption"> - -PORTRAITS BY MORONI<br /> -NATIONAL GALLERY, LONDON</div> -</div> - -<p>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.</p> - -<p>The use of jewels was always favoured among the nobility, and we -find in the inventory of the effects of Piers Gaveston<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> plates ornamented -with gold and silver and ailettes <span lang="fr" xml:lang="fr">“frettez de perles.”</span> 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.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p> - -<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> - -<div class="figleft"> -<a name="FIG37" id="FIG37"></a> -<img src="images/fig37_074.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 37.</span> Poleynes on the<br /> -brass of Sir Robert de Bures,<br /> -Acton, Suffolk, 1302.</div> -</div> - -<p>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).</p> - -<div class="figright"> -<a name="FIG38" id="FIG38"></a> -<img src="images/fig38_074.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 38.</span> Beinbergs on the<br /> -statue of Guigliemo Berardi,<br /> -Florence, 1289.</div> -</div> - -<p>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<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -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 (<a href="#PLATE_XII">Plate -XII</a>). 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,<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -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: -<span lang="fr" xml:lang="fr">“C’est magnifique, mais ce n’est pas la guerre”</span> (<a href="#PLATE_XIV">Plate XIV</a>).</p> - -<div class="figright"> -<a name="FIG39" id="FIG39"></a> -<img src="images/fig39_075.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 39.</span> Brass of an unknown<br /> -knight at Laughton, Lincs, 1400.<br /> - -<p class="pad2 noindent"> -1. Vervelles.<br /> -2. Camail.<br /> -3. “Vif de l’harnois,”<br /> - <span lang="fr" xml:lang="fr">“défaut de la cuirasse.”</span><br /> -4. Baldrick.<br /> -5. Jupon.<br /> -6. Gadlings or gauntlets.<br /> -7. Bascinet.<br /> -8. Edge of hauberk.<br /> -</p></div> -</div> - -<p>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.”<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a></p> - -<p>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.</p> - -<p>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.</p> - -<p>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 <a href="#Page_132">page 132</a> and <a href="#PLATE_XIV">Plate XIV</a>).</p> - -<div><a name="PLATE_XIX" id="PLATE_XIX"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XIX</em></p> -<img src="images/i_plate_19.jpg" width="400" alt="" /> -<div class="caption"> - -HELM OF SIR GILES CAPEL. XVI CENT.<br /> -<br /> -ARMING FOR COMBAT IN THE LISTS<br /> -FROM THE HASTINGS MS., XV CENT.</div> -</div> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p>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 -<span lang="fr" xml:lang="fr">repoussé</span> 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.</p> - -<p>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 (<a href="#PLATE_XXI">Plate XXI</a>).</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> <cite>New Fœdera</cite>, II, 203.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> Froissart (Johnes’ trans.), II, 124.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> <cite>Life of Benvenuto Cellini</cite>, 1910 edition, I, 112.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_CLEANING_OF_ARMOUR" id="THE_CLEANING_OF_ARMOUR"></a><a href="#CONTENTS">THE CLEANING OF ARMOUR</a></h2> - -<p class="drop-capy1">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.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> 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.</p> - -<p>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 <a href="#Page_109">page 109</a>; 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:—</p> - -<div class="extract"> - -<p class="neginyy">1250 (?). <cite>The Avowynge of King Arthur, stanza 39.</cite></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">Gay gownus of grene</p> -<p class="verse0">To hold thayre armur clene</p> -<p class="verse0">And were<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> hitte fro the wette.</p> -</div></div></div> - -<p>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<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> -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.</p> - -<div class="extract"> - -<p class="neginyy">1296. 23–24 <cite>Edw. I</cite> (<cite>Duchy of Lancaster Accounts</cite>).</p> - -<p class="pad4" lang="la" xml:lang="la">Itm. xx s. xj d. in duobus saccis de coreo pro armatura comitis.</p></div> - -<p>This refers to leather sacks used either for keeping the armour in -or for cleaning it by shaking it with sand and vinegar.</p> - -<div class="extract"> - -<p class="neginyy">1344. <cite>Inventory of Dover Castle</cite> (see also <a href="#Page_25">page 25</a>).</p> - -<p class="pad10" lang="la" xml:lang="la">i barrele pro armaturis rollandis.</p></div> - -<p>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 -<a href="#PLATE_XV">Plate XV</a> a barrel is shown on the extreme left of the picture with a -mail shirt hanging over the edge.</p> - -<div class="extract"> - -<p class="neginyy">1364. <cite>Inventory of the donjon of Vostieza.</cite><a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a></p> - -<p class="pad10" lang="fr" xml:lang="fr">i barellum ad forbiendum malliam.</p> - -<p class="neginyy">1369. <cite>Prologue, Canterbury Tales</cite>, Chaucer.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">Of fustyan he wered a gipoun</p> -<p class="verse0">Alle sysmoterud with his haburgeoun.</p> -</div></div></div> - -<p>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 <cite>Syr Gawayn</cite>, which means cleaned by rolling.</p> - -<div class="extract"> - -<p class="neginyy">1372. Froissart <em>uses the expression</em></p> - -<p class="pad10" lang="fr" xml:lang="fr">a rouler leurs cottes de fer.</p> - -<p class="neginyy">1417. <cite>Inventory of Winchester College.</cite></p> - -<p class="pad10" lang="la" xml:lang="la">i barelle pro loricis purgandis.</p> - -<p class="neginyy">1423. <cite>Roll of Executors of Henry Bowet, Archbishop of York, Oct. 20.</cite></p> - -<p class="pad6 negin1" lang="la" xml:lang="la">j barrelle cum suis pertinentiis ad purgandos loricas et alia arma -de mayle.</p> - -<p class="neginyy">1467. <cite>Howard Household Book.</cite> (<cite>Dom. Expenses in England</cite>, 416).</p> - -<p class="pad4">9d. to an armerer at Pawles Cheyne for an harneys barelle.</p> - -<p><span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span></p> - -<p class="neginyy">1513. <cite>Earl of Northumberland’s Equipage</cite> (see also <a href="#Page_30">page 30</a>).</p> - -<p class="pad4">a paommyshe.</p> - -<p class="pad6 negin1">Eight yards of white blaunkett for trussing of my Lord’s harnes in.</p></div> - -<p>The pumice was for cleaning off the rust, and the blanket was -used for packing the armour when in store or on a journey.</p> - -<div class="extract"> - -<p class="neginyy">1515. <cite>King’s Book of Payments, Record Office, under various payments to -armourers.</cite></p> - -<p class="pad6 negin1">Oct. 11. Payment to Adrian Brand for hire of his mill house for -cleaning the king’s harness, 26s. 8d. the month.</p> - -<p class="neginyy">1517. April. Wm. Gurre, armourer, making clean of certain harness, -bockeling & ledering of 400 Almain rivets for the Armoury at -Eltham £24 7 8.</p></div> - -<p>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 <a href="#Page_52">page 52</a>.</p> - -<div class="extract"> - -<p class="neginyy">1520. April. William Gurre for scouring 1000 pr. of Almain rivets at -12d. a pair.</p> - -<p class="neginyy">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.</p> - -<p class="pad6 negin1">Thos. Wollwarde for keeping & making the king’s harnes att -Windsor & York Place 30s. 5d.</p> - -<p class="neginyy">1567. <cite>S.P.D. Eliz., Addenda xiii</cite>, 101.</p> - -<p class="pad6 negin1">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.</p></div> - -<div><a name="PLATE_XX" id="PLATE_XX"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XX</em></p> -<img src="images/i_plate_20.jpg" width="325" alt="" /> -<div class="caption"> - -ARMOUR OF HENRY, PRINCE OF WALES, BY WILLIAM PICKERING, 1591–1630</div> -</div> - -<p>Froissart describes the champion Dimeth, at the coronation of -Henry IV, as being <span lang="fr" xml:lang="fr">“tout couvert de mailles de vermeil, chevalier et -cheval.”</span><a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> 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 (<em>vide</em> <a href="#Page_33">page 33</a> <em>sub ann.</em> -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.<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -Haselrigg’s “lobsters” were so called, according to Clarendon,<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> -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 <span lang="fr" xml:lang="fr">“por vernicier une cotte d’aciel,”</span> and in one of the -Tower inventories (Harl. MS. 1419) of the year 1547 “a buckler of -steel painted” occurs.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a></p> - -<div class="extract"> - -<p class="neginyy">1567. <cite>S.P.D. Eliz., Add. xiii</cite>, 104.</p> - -<p class="pad6 negin1">Sundry payments for cleaning and repairing armour at the Tower, -Hampton Court, and Greenwich at 10d. the day.</p> - -<p class="neginyy">1580. <cite>S.P.D. Eliz., cxli</cite>, 42.</p> - -<p class="pad6 negin1">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.</p> - -<p class="neginyy">1628. <cite>S.P.D. Car. I, xciii</cite>, 61.</p> - -<p class="pad6 negin1">Capt. John Heydon to Wm. Boswell, Clerk to the Council, for the -new russeting of a corslet, 5sh.</p> - -<p class="neginyy">1603. <cite>Inventory of the Armoury at Hengrave.</cite></p> - -<p class="pad6 negin1">Item one barrel to make clean the shirt of maile & gorgets.</p> - -<p class="neginyy">1671. <em>Patent</em> 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.</p> - -<p class="neginyy">1647 (<em>circ.</em>). <cite>Laws and Ordinances of Warr, Bod. Lib., Goodwin Pamphlets, -cxvii</cite>, 14.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p> - -<p class="pad6 negin1">Of a Souldiers duty touching his Arms.</p> - -<p class="pad6 negin1">II. Slovenly Armour.—None shall presume to appeare with their -Armes unfixt or indecently kept upon pain of Arbitrary -correction.</p></div> - -<p>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 <cite>Chronique de Troyes</cite>, the French -soldiers were forbidden to carry their arms and armour in “paniers,” -which, from the statement, was evidently a practice.</p> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p> - -<p>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.</p> - -<p>In the Wardrobe Expenses of Bolingbroke, Earl of Derby (Camden -Soc.), 1393, are found the following entries:—</p> - -<div class="extract"> - -<p class="pad4 noindent"> -fol. 32. pro j cofre ... ad imponendum scuta domini. xvij scot.<br /> -fol. 33. pro j house<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> pro scuto domini ix scot. xij d.<br /> -fol. 40. pro i breastplate domini purgando ibidem iij li. vij s.<br /> -</p></div> - -<p>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.<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> Charles ffoulkes, “Italian Armour at Chalcis,” <cite>Archæologia</cite>, LXII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> Protect.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> <cite>Arch. Journ.</cite>, LX, 106.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> Vol. IV, c. 114. This detail is not given either in Johnes’ or Lord Berners’ translation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> <cite>Rebellion</cite>, VII, 104.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> <cite>Archæologia</cite>, LI.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> <cite>Cromwell’s Army</cite>, Firth, 413.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> Cover.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> <cite>Arch. Journ</cite>., LX.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_USE_OF_FABRICS_AND_LINEN" id="THE_USE_OF_FABRICS_AND_LINEN"></a><a href="#CONTENTS">THE USE OF FABRICS AND LINEN</a></h2> - -<p class="drop-capy1">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.</p> - -<div class="figright"> -<a name="FIG40" id="FIG40"></a> -<img src="images/fig40_083.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 40.</span> Pourpointed cuisses<br /> -from the brass of Sir John<br /> -de Argentine, Horseheath,<br /> -Cambs, 1360.</div> -</div> - -<p>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 <a href="#Page_49">page 49</a>. The same may be said of the horn and metal jacks -which were a humbler form of the brigandine. The most concise<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> -descriptions of such armour will be found in the Catalogue of Helmets -and Mail by de Cosson and Burgess (<cite>Arch. Journ.</cite>, 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.</p> - -<p>Few of these defences of fabric have survived, owing to the ravages -of moth and damp.</p> - -<p>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 <cite>Arms and Armour at Oxford</cite>, -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.</p> - -<div class="extract"> - -<p class="neginyy">1150–1200 (?). <cite>Speculum Regale, Kongs-Skugg-Sio</cite>, edit. 1768, pp. 405–6 -(actual date unknown).</p> - -<p class="pad5 noindent">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.</p> - -<p class="pad5">(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.</p></div> - -<div><a name="PLATE_XXI" id="PLATE_XXI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXI</em></p> -<img src="images/i_plate_21.jpg" width="600" alt="" /> -<div class="caption"> - -<p>HALF ARMOUR, CIRC. 1520<br /> -<span class="pad30pc">TONLET SUIT BY CONRAD LOCHNER, 1510–1567</span></p> -<p class="right">“MAXIMILIAN” ARMOUR, CIRC. 1515</p></div> -</div> - -<p>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 (<cite>Archæologia</cite>, LVII), -which gives the details of undergarments worn by the armed man at -this date (<a href="#Page_107">page 107</a>). 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<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -used in the fifteenth and early sixteenth centuries for tournaments, minute -regulations for which are found in the <cite>Traité d’un Tournoi</cite> by King -René of Anjou, which will be referred to farther on in this chapter.</p> - -<div class="figcenter"> -<a name="FIG41" id="FIG41"></a> -<img src="images/fig41_085.jpg" width="500" alt="" /> -<div class="caption"> - -FRONT. <span class="pad50pc">BACK.</span><br /> -<br /> -<span class="smcap">Fig. 41.</span> Padded Horse-armour for the Tourney (from King René’s <cite>Traité d’un Tournoi</cite>). -</div></div> - -<div class="extract"> - -<p class="neginyy">1286. <cite>Comptus Ballivorum Franciæ.</cite><a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a></p> - -<p class="pad5" lang="la" xml:lang="la">Expense pro cendatis, bourra ad gambesones, tapetis.</p></div> - -<p>This item is evidently for stuffing gambesons with cendal<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> 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 <cite>Glossaire Archæologic.</cite></p> - -<div class="extract"> - -<p class="neginyy">1296. <cite>Ordonnances des Métiers de Paris</cite>, p. 371.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p> - -<p class="pad5" lang="fr" xml:lang="fr">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.</p></div> - -<p>The first of these regulations concerns the materials used, and is<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -very similar to that of the Armourers’ Company of London made in 1322, -which is given in full in <a href="#APPENDIX_A">Appendix A</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.</p> - -<div class="extract"> - -<p class="neginyy">1311. <cite>From the same source as the above.</cite></p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1322. <cite>Chamber of Accounts, Paris.</cite></p> - -<p class="pad5 noindent">Item Adae armentario 40 sol 4 d. pro factoris gambesonorum.</p></div> - -<p>The name “Ada” of the armentarius rather suggests that it might -be a female who provided these gambesons.</p> - -<div class="extract"> - -<p class="neginyy">1383. <cite>Chronique de Bertrand du Guesclin</cite> (<cite>T. II, p. 95</cite>, 235.)</p> - -<div class="poetry-container"><div class="poetry" lang="fr" xml:lang="fr"> -<p class="verse0">Ainsois l’ala d’une lance tranchant</p> -<p class="verse0">L’escu li a rompu et le bon jaserant</p> -<p class="verse0">Mais l’auqueton fu fort qui fu de bougeran</p> -<hr class="r30a" /> -<p class="verse0">Et prendre auquetons de soie ou de bougerans.</p> -</div></div></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1450. <cite>Ordinance of Louis XI of France, Chambres des Compts, Paris.</cite><a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">... 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 <ins class="corr" title="Transcriber's Note—Original text: 'seur ledii jacques'">seur ledit jacques</ins> 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.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1470. <cite>Harl. MS. 4780. Inventory of Edward IV.</cite></p> - -<p class="pad5 noindent">Item a doublet of crimson velvet lined with Hollande cloth and -interlined with busk.</p></div> - -<p>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,<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -for Gustavus Adolphus had a coat lined with them (Lifrustkammer, -Stockholm) and Bradshaw’s hat (Ashmolean Mus., Oxford) is strengthened -with steel strips. (<a href="#FIG50">Fig. 50</a>.)</p> - -<div class="extract"> - -<p class="neginyy">1450 (<em>circ.</em>). <cite>Traité d’un Tournoi</cite>, King René.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">... 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.</p> - -<hr class="r30a" /> - -<p class="pad5" lang="fr" xml:lang="fr">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.</p></div> - -<p>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.</p> - -<div><a name="PLATE_XXII" id="PLATE_XXII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXII</em></p> -<img src="images/i_plate_22.jpg" width="450" alt="" /> -<div class="caption"> - -GAUNTLETS AND GORGET<br /> - -<p class="noindent"> -1. BRIDLE GAUNTLET. 2. RIGHT HAND GAUNTLET BY JACOB TOPF, PART OF THE “LEICESTER” SUIT.<br /> -3. BRIDLE GAUNTLET OF JAMES I. 4. XV CENT. GAUNTLET WITH “GADLINGS” ON THE KNUCKLES.<br /> -<span class="pad10pc">5. LOCKING GAUNTLET, XVI CENT. 6. BRIDLE GAUNTLET, XVI CENT.</span><br /> -7. PARADE GAUNTLET BY HEINRICK KNOPF, 1590. 8. GAUNTLET FOR FIGHTING AT BARRIERS, XVI CENT.<br /> -<span class="pad20pc">9. GORGET BY JACOP JORINGK, 1669.</span><br /> -</p></div> -</div> - -<p>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. (<cite>Archæologia</cite>, 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<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -engraving of Albert Dürer, of a man and a woman supporting -a shield on which is a skull (Fig. 42, <a href="#FIG2">2</a>). There are some of these caps -in the Waffensammlung, Vienna, which have been noticed in Vol. II -of the <cite>Zeitschrift für Historische Waffenkunde</cite>.</p> - -<div class="figcenter"> -<a name="FIG42" id="FIG42"></a> -<img src="images/fig42_089.jpg" width="500" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 42.</span><br /> - -<p class="pad20pc noindent"> -1. Padded “harnisch-kappe,” Vienna.<br /> -2. Helm showing attachment of cap and lining (after Dürer).<br /> -</p></div> -</div> - -<p>The original lining of Sir Henry Lee’s helmet (<a href="#PLATE_XIII">Plate XIII</a>) is still -<i lang="la" xml:lang="la">in situ</i>; 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.</p> - -<div class="figcenter"> -<a name="FIG43" id="FIG43"></a> -<img src="images/fig43-44_089.jpg" width="500" alt="" /> -<div class="caption"> - -<p class="noindent"><span class="smcap">Fig. 43.</span> Sallad-cap (from a picture<br /> -by Paolo Morando, 1486–1522,<br /> -No. 571, Uffizi, Florence).</p> - -<p class="rt"><span class="smcap">Fig. 44.</span> Helmet-cap<br /> -(from a sixteenth-century<br /> -engraving of Iacob Fugger).</p></div> -</div> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1586. <cite>Chronicles</cite>, Raphael Holinshed (edit. 1807, II, xvi, 333).</p> - -<p class="pad5 noindent">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.</p></div> - -<p>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.”</p> - -<div class="extract"> - -<p class="neginyy">1591–5. <cite>Instructions, Observations and Orders Militarie, p. 185</cite>, Sir John Smith.</p> - -<p class="pad5 noindent">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.</p></div> - -<p>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).</p> - -<div class="extract"> - -<p class="neginyy">1662. <cite>Decades of Epistles of War</cite>, Gervase Markham.</p> - -<p class="pad5 noindent">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.</p> - -<p class="neginyy">1643. <cite>Souldier’s Accidence</cite>, Gervase Markham.</p> - -<p class="pad5 noindent">... the shot should have good comb caps well lined with quilted -caps.</p></div> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<p>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.</p> - -<div class="figcenter"> -<a name="FIG45" id="FIG45"></a> -<img src="images/fig45_091.jpg" width="500" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 45.</span> Details of Eyelet Coats.<br /> -1. Musée d’Artillerie, Paris, G, 210. <span class="pad10pc">2. Musée de Cluny, Paris.</span> -</div></div> - -<p>In the Wardrobe Accounts of Edward I quoted on <a href="#Page_79">page 79</a> 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.</p> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1591–5. <cite>Instructions and Orders Militarie, p. 185</cite>, Sir John Smith.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> - -<p class="pad5 noindent">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.</p></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span></p> - -<p>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.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> 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.</p> - -<p>The stuffing of these padded garments was not always of cotton. -In the inventory of the goods of Sir John Falstoffe, 1459 (<cite>Archæologia</cite>, -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<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> 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.</p> - -<p>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.</p> - -<div><a name="PLATE_XXIII" id="PLATE_XXIII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXIII</em></p> -<img src="images/i_plate_23.jpg" width="500" alt="" /> -<div class="caption"> - -MAN AT ARMS. MIDDLE OF XV CENT.</div> -</div> - -<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p> - -<p>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<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> of Edward I, in which Robinet, the King’s -tailor, is mentioned as making robes and armours and banners.</p> - -<p>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 <a href="#APPENDIX_A">Appendix A</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 (<a href="#Page_78">page 78</a>), 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.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> In the -<cite>Treatise</cite> of Johan Hill, written in 1434 (<a href="#APPENDIX_C">Appendix C</a>, 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,<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> -and in the Lieutenancy Accounts for -Lancashire, <em>temp.</em> 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 (<a href="#PLATE_XVI">Plate XVI</a>).</p> - -<p><span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span></p> - -<div class="figright"> -<a name="FIG46" id="FIG46"></a> -<img src="images/fig46_093.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 46.</span> Sallad with cover, from a<br /> -sixteenth-century engraving.</div> -</div> - -<p>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 <cite>Examen</cite> 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.</p> - - -<p class="p1 pfs90">THE LINEN ARMOURERS</p> - -<p>As we have seen on <a href="#Page_91">page 91</a>, in the thirteenth and fourteenth centuries -the tailor was often also a purveyor of armour. M. Buttin<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> -quotes several extracts from documents of the fourteenth century in which -different names of craftsmen appear classed as <span lang="fr" xml:lang="fr">“Brodeurs et Armuriers.”</span> -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.</p> - -<p>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.”<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> 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<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -confiscate any work which did not come up to their standard. It is -doubtful whether the document given in <a href="#APPENDIX_A">Appendix A</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.</p> - -<p>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.</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> Meyrick, <cite>Antient Armour</cite>, I, 139.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> Cf. jupon of Black Prince at Canterbury, wadded with cotton.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> See also Du Cange, <cite>Glossaire</cite>, under “Jacque.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> <cite>Jahrbuch des Kunsthist. Sammlungen</cite>, II, 995.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Johnes’ edit., I, 131.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> <cite>Lib. Gardrobæ</cite>, 28 Ed. I, 1300. Soc. of Antiq.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> <em>Vide</em> modern War Office regulations of the present day as to scabbards of swords, Highland kilts, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> <cite>Arch. Journ.</cite>, LX, “Armour Notes.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> <cite>Le Guet de Genève</cite>, Geneva, 1910.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> <cite>Hist. of 12 Livery Co.’s of London</cite>, Herbert, 1836.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_USE_OF_LEATHER" id="THE_USE_OF_LEATHER"></a><a href="#CONTENTS">THE USE OF LEATHER</a></h2> - -<p class="drop-capy">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).</p> - -<div class="figleft"> -<a name="FIG47" id="FIG47"></a> -<img src="images/fig47_096.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 47.</span> Cuirass from the<br /> -sketch-book of Willarsde<br /> -Honecourt, thirteenth century.</div> -</div> - -<p>The Hon. Robert Curzon, writing in 1869, mentions -a cuirass of three thicknesses of leather found in -a stone coffin of the thirteenth century (<cite>Arch. Journ.</cite>, -XXII, p. 6).</p> - -<p>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).</p> - -<p>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<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -leather rather than metal, and certainly the much-debated-upon -“banded mail” must have been a mixture of leather and metal.</p> - -<div class="figright"> -<a name="FIG48" id="FIG48"></a> -<img src="images/fig48_096.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 48.</span> Leather Gauntlet,<br /> -<ins class="corr" title="Transcriber's Note—Original text: 'Ashmolean Musem'">Ashmolean Museum</ins>, Oxford.</div> -</div> - -<p>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.</p> - -<p>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.</p> - -<div><a name="PLATE_XXIV" id="PLATE_XXIV"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXIV</em></p> -<img src="images/i_plate_24.jpg" width="600" alt="" /> -<div class="caption"> - -PARADE SHIELD BY DESIDERIUS COLMAN, 1554<br /> -THE DETAIL IS GIVEN ON PAGE 135</div> -</div> - -<p>The best leather seems to have come from Spain and especially -from Cordova. Among the <cite>Ordonnances des rois</cite> 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.</p> - -<p>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,<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> and these were -probably of cuir-bouilli.</p> - -<p>The d’Aubernon, Setvans, and Gorleston brasses are -good examples of this. Chaucer in his <cite>Rime of Sir -Thopas</cite> mentions jambs of cuir-bouilli as being part of -the ordinary equipment of the knight (see <a href="#Page_100">page 100</a>).</p> - -<div class="figright"> -<a name="FIG49" id="FIG49"></a> -<img src="images/fig49_097.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 49.</span> Brassard of<br /> -leather and cord for the<br /> -tourney (from René’s<br /> -<cite>Traité d’un Tournoi</cite>).</div> -</div> - -<p>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<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -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.<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a> In -his <cite>Advis de gaige de battaile</cite> the same author mentions leather armour -as being only fit for the man who is “point gentilhomme.”</p> - -<p>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 <a href="#PLATE_XVII">Plate XVII</a> 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 <cite>Ancient Armour</cite>, 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<em>b</em>), and a pair of seventeenth-century leather “lobster-tail” -cuisses at Goodrich Court, Herefordshire.</p> - -<p>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.</p> - -<p>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,<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> 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.</p> - -<p>The painting of bards seems to have been a distinct trade, for we -find in the Statuto de’ pittori Fiorentini rubr. 79 (<cite>Carteggio ined. -d’artisti</cite>, T. II, p. 40) regulations forbidding any but the registered -bard-painters to undertake such work.</p> - -<p>That cuir-bouilli was not proof against firearms we learn from -Jean de Troyes (page 260), who writes: <span lang="fr" xml:lang="fr">“Si y eut un cheval tout barde -de cuir bouilli qui fut tue d’un coup de coulverine.”</span> This refers to<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -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 (<cite>Rêveries</cite>, -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.</p> - -<p>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.</p> - -<div class="figright"> -<a name="FIG50" id="FIG50"></a> -<img src="images/fig50_099.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 50.</span> Hat of Bradshaw<br /> -the regicide, of leather and<br /> -steel. Ashmolean Mus., Oxford.</div> -</div> - -<p>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.</p> - -<p>The leather hat reinforced with steel plates -given at Fig. 50 was worn by the regicide Bradshaw -at the trial of Charles I.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a></p> - -<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p> - - -<p class="p1 pfs90">REFERENCES TO LEATHER AND CUIR-BOUILLI FROM -CONTEMPORARY DOCUMENTS</p> - -<div class="extract"> - -<p class="neginyy">1185. <cite>Chanson d’Antioche.</cite></p> - -<div class="poetry-container"><div class="poetry" lang="fr" xml:lang="fr"> -<p class="verse0">Moult fu riches qu’il li a chief mi</p> -<p class="verse0">Son poitrail lui laca qui fu de cuir bolis.</p> -</div></div></div> - -<p>The “poitrail” in this extract is the breastplate of the knight and -not of the horse.</p> - -<div class="extract"> - -<p class="neginyy">1278. <cite>Roll of Purchases for the Tournament at Windsor Park.</cite></p> - -<p class="pad5 noindent">De Milon le Cuireur xxxviij quiret: p’c pec iij s.</p> - -<p class="pad6 negin1">Itm. ij Crest & j Blazon & una galea cor & j ensis de Balon -de Rob’o Brunnler xxxviij galee de cor p’c galee xiv.</p></div> - -<p>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<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> 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.</p> - -<div class="extract"> - -<p class="neginyy">1345. <cite>Les Livres de Comptes des Freres Bonis</cite>, I. 174, Forestie.</p> - -<p class="pad5" lang="fr" xml:lang="fr">Item deu per un brasalot ... de cuer negre.</p> - -<p class="neginyy">1351. <cite>Ordonnances du roi Jean IV</cite>, 69.</p> - -<p class="pad6 negin1" lang="fr" xml:lang="fr">Ordenons que l’arbalestrier ... sera arme de plates ... et de -harnois de bras de fer et de cuir.</p></div> - -<p>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 <cite>Le Guet de Genève</cite><a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> gives several extracts from inventories -and other documents which bear out this statement.</p> - -<div class="extract"> - -<p class="neginyy">1350. <cite>Rime of Sir Thopas</cite>, Chaucer.</p> - -<p class="pad10">His jambeux were of curebully.</p></div> - -<div><a name="PLATE_XXV" id="PLATE_XXV"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXV</em></p> -<img src="images/i_plate_25.jpg" width="400" alt="" /> -<div class="caption"> - -DRAWING BY JACOB TOPF, 1530–1597<br /> -FROM THE “ARMOURER’S ALBUM,” VICTORIA AND ALBERT MUSEUM</div> -</div> - -<div><a name="PLATE_XXVI" id="PLATE_XXVI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXVI</em></p> -<img src="images/i_plate_26.jpg" width="300" alt="" /> -<div class="caption"> - -ARMOUR OF SIR CHRISTOPHER HATTON, BY JACOB TOPF</div> -</div> - -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1411. <cite>Inventorie de l’ecurie du roi, f. 108 vo.</cite></p> - -<p class="pad4" lang="fr" xml:lang="fr">Une armure de cuir de Surie pour armer l’homme et le cheval.</p> - -<p class="neginyy">1450. <cite>Traité d’un Tournoi</cite>, Roi René.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p></div> - -<p>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 <cite>Des anciens tournois et Faictz d’Armes</cite> (edit. -B. Prost., p. 120).</p> - -<div class="extract"> - -<p class="neginyy">1471. <cite>Inv. du Roi Rene à Angers, fo. 3 vo.</cite></p> - -<p class="pad4" lang="fr" xml:lang="fr">Quatre targetes de cuir bouilly a la facon de Tunes.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1480. <cite>L’Artillerie des Ducs de Bourogne, Garnier, appendix, p. 230.</cite></p> - -<p class="pad4" lang="fr" xml:lang="fr">Onze gands et huit brasselets de cuir pour archiers.</p></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1493. <cite>L’advis de gaige de battaille</cite>, O. de la Marche.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">S’il n’est point gentilhomme il peut combattre selon l’ancienne -coustume armé de cuir bouilly.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1500. <cite>Inv. de Francois Ier. de Luxembourg, p. 6.</cite></p> - -<p class="pad4" lang="fr" xml:lang="fr">Plusiers bardes de chevaux de cuyr de cartes ou cartons.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1559. <cite>Notes sur Dioscoride, II, chap. 21</cite>, Matthée.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1630 (<em>circ.</em>). <cite>Hist. of London, p. 26</cite>, Pennant (1790).</p> - -<p class="pad5 noindent">Robert Scot ... was the inventor of leather artillery which he -introduced into the army of Gustvus Adolphus.</p> - -<p class="neginyy">1644. <cite>Military Memoirs of the Great Civil War, p. 42</cite>, Gwynne.</p> - -<p class="pad5 noindent">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.</p></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1678. <cite>Traité des Armes, p. 55</cite>, Gaya.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p> - -<p class="pad5" lang="fr" xml:lang="fr">Les Bufles ... sont faits en forme de Juste-au-corps à quatre -basques qui descend jusqu’aux genoux.</p> - -<p class="pad5" lang="fr" xml:lang="fr">Il n’y a pas un Cavalier dans les trouppes de France qui n’ait un -habillement de Bufle.</p></div> - -<p>The buff coat of leather or <span lang="fr" xml:lang="fr">“cuir de bœuf”</span> 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.<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a></p> - -<div class="extract"> - -<p class="neginyy">1591–5. <cite>Instructions, Observations and Orders Militarie, p. 185</cite>, Sir John Smith.</p> - -<p class="pad5 noindent">... 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.</p></div> - -<p>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 -<a href="#PLATE_XVIII">Plate XVIII</a>, 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 <a href="#FIG24">Fig. 24</a> of this work. They have been re-introduced -as shoulder-straps for heavy cavalry at the present day.</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> The Pembridge effigy in Hereford Cathedral has thigh-pieces which apparently represent leather -laced on the inside.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> <cite>Memoirs</cite>, Vol. I, ch. 33.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> <cite>Arms and Armour at Oxford</cite>, C. ffoulkes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> <cite>Arms and Armour at Oxford</cite>, C. ffoulkes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> Johnes’ trans., I, 739.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> Kündig, Geneva, 1910.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Cannon, <cite>Historical Records of the Life Guards</cite>, p. 74.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_WEARING_OF_ARMOUR" id="THE_WEARING_OF_ARMOUR"></a><a href="#CONTENTS">THE WEARING OF ARMOUR</a></h2> - -<p class="drop-capy">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.</p> - -<p>As has been noticed in a preceding chapter, as late as 1625 we -find this insisted upon by de Pluvinel (see <a href="#Page_115">page 115</a>). Shakespeare -describes the armourers as busy “accomplishing the knights” before -Agincourt (<a href="#Page_33">page 33</a>), 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.</p> - -<p>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 (<a href="#Page_28">page 28</a>). The following extracts show -the methods employed for sending measurements, which were often -obtained by submitting the clothes of the patron to the armourer:—</p> - -<div class="extract"> - -<p class="neginyy">1406. In the will of Sir Ralph Bulmer, “armatura mea corpori talliata.”<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> - -<p class="neginyy">1470. <cite>Archives de Bruxelles.</cite><a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a></p> - -<p class="pad5 noindent">Baltazar du Cornet, armourer at Bruges, delivers for the Duke -of Burgundy <span lang="fr" xml:lang="fr">“2 cuiraches complettes faites a la mesure de Monseigneur.”</span></p> - -<p class="pad5">Lazarus de St. Augustin delivers <span lang="fr" xml:lang="fr">“un harnais complet fait naguere -a la mesure de Monseigneur et pour son corps.”</span></p> - -<p class="neginyy">1512. A jacket and hose of Prince Charles (afterwards Charles V) are sent -to Conrad Seusenhofer.<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a></p> - -<p class="neginyy">1520. <cite>Brit. Mus., Calig. D, VIII</cite>, 181.</p> - -<p class="pad5 noindent">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.</p></div> - -<div><a name="PLATE_XXVII" id="PLATE_XXVII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXVII</em></p> -<img src="images/i_plate_27.jpg" width="400" alt="" /> -<div class="caption"> - -DRAWING BY JACOB TOPF, 1530–1597<br /> -FROM THE “ARMOURER’S ALBUM,” VICTORIA AND ALBERT MUSEUM</div> -</div> - -<div><a name="PLATE_XXVIII" id="PLATE_XXVIII"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXVIII</em></p> -<img src="images/i_plate_28.jpg" width="400" alt="" /> -<div class="caption"> - -ARMOUR OF SIR JOHN SMITH, BY JACOB TOPF</div> -</div> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1564. <cite>S.P.D. Elizabeth, Jan. 30.</cite></p> - -<p class="pad5 noindent">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.</p> - -<p class="neginyy">1667. <cite>Verney Memoirs, IV</cite>, 301. Rich. Hals to Edmond Verney.</p> - -<p class="pad5 noindent">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.</p></div> - -<div class="figright"> -<a name="FIG51" id="FIG51"></a> -<img src="images/fig51_105.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 51.</span> Stripping the dead<br /> -(Bayeux Tapestry).</div> -</div> - -<p>In the <a href="#Page_96">preceding chapter</a> 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.</p> - -<div class="figleft"> -<a name="FIG52" id="FIG52"></a> -<img src="images/fig52_105.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 52.</span> Knight arming (from <cite>Livre des Nobles<br /> -Femmes</cite>, Bib. Nat., Paris, fourteenth century).</div> -</div> - -<p>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<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span> -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 <cite>Pèlerinage -de l’Ame</cite>, written in the fourteenth century, the “pourpoint” -was so called because of its quiltings:—</p> - -<div class="poetry-container"><div class="poetry" lang="fr" xml:lang="fr"> -<p class="verse0">De pontures de gambison</p> -<p class="verse0">Pourquoi pourpoint l’appelle-t-on.</p> -</div></div> - -<p class="p2" /> -<div class="figleft"> -<a name="FIG53" id="FIG53"></a> -<img src="images/fig53_106.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 53.</span> Brass of Sir<br /> -John de Creke,<br /> -Westley Waterless,<br /> -Cambs, 1325.<br /> - -<p class="noindent"> -1. Bascinet.<br /> -2. Vervelies and camail.<br /> -3. Cyclas or surcoat.<br /> -4. Upper pourpoint.<br /> -5. Hauberk.<br /> -6. Gambeson or haketon.<br /> -7. Poleynes.<br /> -8. Beinbergs or jambs.<br /> -</p></div> -</div> - -<p>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.</p> - -<p>The illustration on <a href="#PLATE_IV">Plate IV</a> 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<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -upon the saint, Duke William of Acquitaine, it is impossible to discover, -as no other instances of the kind can be found.</p> - -<p>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,<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> and -more fully by Viscount Dillon.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> Under the heading of “The Abilment -for the Justes of Pees” we find much that is of value in this respect. On -page 122<em>b</em> of the manuscript we find the following minute directions -for dressing a man for the joust, which should be compared with those -given in <a href="#APPENDIX_C">Appendix C</a>, page 173.</p> - -<div class="extract pad2" lang="enm" xml:lang="enm"> - -<p>How a man schall be armyd at his ese when he schal fighte -on foote:</p> - -<p>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 [<em>sic</em>] 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.</p> - -<p class="pad4">To arme a man</p> - -<p class="noindent">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 & <span class="over">he</span> the breeche of mayle And <span class="over">the</span> tonletis And<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -the brest And <span class="over">he</span> vambras And <span class="over">he</span> 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.</p></div> - -<div class="figcenter"> -<a name="FIG54" id="FIG54"></a> -<img src="images/fig54-55_108.jpg" width="500" alt="" /> -<div class="caption"> - -<p class="pad3 noindent"><span class="smcap">Fig. 54.</span> Arming-points (from the portrait of<br /> -a Navigator, Ashmolean Mus., Oxford).</p> - -<p class="rt"><span class="smcap">Fig. 55.</span> Attachment of brassard by<br /> -points (from the portrait of the Duc<br /> -de Nevers, Hampton Court).</p></div> -</div> - -<p>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 <cite>Paston Letters</cite> we have the following request from -Edward IV:—</p> - -<div class="extract"> - -<p class="pad3 noindent">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.</p></div> - -<p class="p2" /> - -<div><a name="PLATE_XXIX" id="PLATE_XXIX"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXIX</em></p> -<img src="images/i_plate_29.jpg" width="500" alt="" /> -<div class="caption"> - -ARMET, MIDDLE OF XVI CENT.<span class="pad20pc">ARMET ENGRAVED AND GILT, END OF XVI CENT.</span><br /> -<br /> -HELM OF SIR RICHARD PEMBRIDGE, CIRC. 1360<br /> -<br /> -PARADE CASQUE, AFTER NEGROLI, <span class="pad10pc">SALLAD BY ONE OF THE NEGROLIS, END OF XV CENT.</span><br /> -<p class="pad3">MIDDLE OF XVI CENT.</p></div> -</div> - -<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p> - -<div class="figright"> -<a name="FIG56" id="FIG56"></a> -<img src="images/fig56_109.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 56.</span> Moton attached<br /> -by points (from Harl.<br /> -MS. 4826).</div> -</div> - -<p>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 (<a href="#PLATE_XVIII">Plate XVIII</a>). -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 -<a href="#FIG52">Fig. 52</a> and the brayette on <a href="#PLATE_VIII">Plate VIII</a>.</p> - -<div class="figleft"> -<a name="FIG57" id="FIG57"></a> -<img src="images/fig57_109.jpg" width="100" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 57.</span> Arming-points<br /> -on the foot (from<br /> -the picture of S.<br /> -Demetrius, by<br /> -Ortolano, Nat. Gall.).</div> -</div> - -<p>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 <a href="#Page_1">first chapter</a> of this book.</p> - -<p>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).</p> - -<p>The “tonlet” would appear to be a bell-shaped skirt of plate or -deep taces such as is shown on <a href="#PLATE_XXI">Plate XXI</a>, 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 (<a href="#FIG53">Fig. 53</a>), 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 (<a href="#FIG54">Fig. 55</a>). In the list of the equipment taken by the Earl of -Northumberland to France in 1513<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> 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.</p> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p> - - -<div class="figcenter"> -<a name="FIG58" id="FIG58"></a> -<img src="images/fig58_110.jpg" width="600" alt="" /> -<div class="caption"> -<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> - -<span class="smcap">Fig. 58.</span> Sixteenth-century Suit of Plate.<br /> -<br /> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr class="smcap"><td class="tdc">English</td><td class="tdc">French</td><td class="tdc">German</td><td class="tdc">Italian</td><td class="tdc">Spanish</td></tr> -<tr><td class="tdlm"> 1. scull</td><td class="tdlm">timbre</td><td class="tdlm">scheitelstück</td><td class="tdlm">coppo</td><td class="tdlm">calva</td></tr> -<tr><td class="tdlm"> 2. visor</td><td class="tdlm">visière</td><td class="tdlm">visier</td><td class="tdlm">visiera</td><td class="tdlm">vista</td></tr> -<tr><td class="tdlm"> 3. ventail</td><td class="tdlm">ventail</td><td class="tdlm">schembart</td><td class="tdlm">ventaglio</td><td class="tdlm">ventalle</td></tr> -<tr><td class="tdlm"> 4. bevor</td><td class="tdlmx">{ bavière<br />{ mentonnière</td><td class="tdlmx">} kinreff</td><td class="tdlm">baviera</td><td class="tdlm">barbote</td></tr> -<tr><td class="tdlm"> 5. crest</td><td class="tdlm">crête</td><td class="tdlm">kamm</td><td class="tdlm">cresta</td><td class="tdlm">cresteria</td></tr> -<tr><td class="tdlm"> 6. plume-holder</td><td class="tdlmx">{ porte-plume<br />{ porte-panache</td><td class="tdlmx">} </td><td class="tdlm">pennachiera</td><td class="tdlm">penacho</td></tr> -<tr><td class="tdlm"> 7. nape-guard</td><td class="tdlm">couvre-nuque</td><td class="tdlm">nackenschirm</td><td class="tdlm">gronda</td><td class="tdlm">cubrenuca</td></tr> -<tr><td class="tdlm"> 8. gorget</td><td class="tdlm">colletin</td><td class="tdlm">kragen</td><td class="tdlm">goletta</td><td class="tdlm">gorjal</td></tr> -<tr><td class="tdlm"> 9. spring-pin</td><td class="tdlm">piton à ressort</td><td class="tdlm">federzapfen</td></tr> -<tr><td class="tdlm">10. neck-guard</td><td class="tdlm">garde-collet</td><td class="tdlm">brechränder</td><td class="tdlm">guarda-goletta</td><td class="tdlm">bufeta</td></tr> -<tr><td class="tdlm">11. pauldron</td><td class="tdlm">épaulière</td><td class="tdlm">achseln</td><td class="tdlm">spallaccio</td><td class="tdlm">guardabrazo</td></tr> -<tr><td class="tdlm">12. rerebrace</td><td class="tdlm">arrière-bras</td><td class="tdlm">oberarmzeug</td><td class="tdlm">bracciali</td><td class="tdlm">brazali</td></tr> -<tr><td class="tdlm">13. lance-rest</td><td class="tdlm">faucre</td><td class="tdlm">rüsthaken</td><td class="tdlm">resta</td><td class="tdlm">restra de muelle</td></tr> -<tr><td class="tdlm">14. rondel or<br /><span class="pad2">besague</span></td><td class="tdlmx">} rondelle</td><td class="tdlm">achselhöhlscheibe</td><td class="tdlmx">{ rotellino da<br />{ bracciale</td><td class="tdlmx">} luneta</td></tr> -<tr><td class="tdlm">15. breast</td><td class="tdlm">plastron</td><td class="tdlm">brust</td><td class="tdlm">petto</td><td class="tdlm">peto</td></tr> -<tr><td class="tdlm">16. back</td><td class="tdlm">dossière</td><td class="tdlm">rücken</td><td class="tdlm">schiena</td><td class="tdlm">dos</td></tr> -<tr><td class="tdlm">17. elbow-cop or<br /><span class="pad2">coude</span></td><td class="tdlmx">} coudière</td><td class="tdlm">armkasheln</td><td class="tdlm">cubitiera</td><td class="tdlm">codales</td></tr> -<tr><td class="tdlm">18. vambrace</td><td class="tdlm">avant-bras</td><td class="tdlm">unterarmzeug</td><td class="tdlm">bracciali</td><td class="tdlm">brazali</td></tr> -<tr><td class="tdlm">19. gauntlet</td><td class="tdlm">gantelet</td><td class="tdlm">handschuhe</td><td class="tdlm">mittene</td><td class="tdlm">manopla</td></tr> -<tr><td class="tdlm">20. taces</td><td class="tdlm">bracconière</td><td class="tdlm">bauchreisen</td><td class="tdlm">panziera</td><td class="tdlm">faldaje</td></tr> -<tr><td class="tdlm">21. loin-guard</td><td class="tdlm">garde-reins</td><td class="tdlm">gesassreifen</td><td class="tdlm">falda</td><td class="tdlm pad2">”</td></tr> -<tr><td class="tdlm">22. fald or skirt<br /><span class="pad2">of mail</span></td><td class="tdlmx">} brayette</td><td class="tdlmx">{ stahlmaschen-<br />{ unterschutz</td><td class="tdlmx">} braghetta</td></tr> -<tr><td class="tdlm">23. tasset</td><td class="tdlm">tassette</td><td class="tdlm">beintaschen</td><td class="tdlm">fiancale</td><td class="tdlm">escarcela</td></tr> -<tr><td class="tdlm">24. upper cuishe</td><td class="tdlm">cuissard</td><td class="tdlm">oberdiechlinge</td><td class="tdlm">cosciali</td><td class="tdlm">quijotes</td></tr> -<tr><td class="tdlm">25. cuishe</td><td class="tdlm pad2">”</td><td class="tdlm">unterdiechlinge</td><td class="tdlm pad2">”</td><td class="tdlm pad2">”</td></tr> -<tr><td class="tdlm">26. knee-cop</td><td class="tdlm"><ins class="corr" title="Transcriber's Note—Original text: 'genouillère'">genouillière</ins></td><td class="tdlm">kniebuckel</td><td class="tdlm">ginocchielli</td><td class="tdlm">guarda o rodillera</td></tr> -<tr><td class="tdlm">27. jamb or<br /><span class="pad2">greave</span></td><td class="tdlmx">} jambière, grève</td><td class="tdlm">beinröhen</td><td class="tdlm">gambiera</td><td class="tdlm">greba</td></tr> -<tr><td class="tdlm">28. solleret or<br /><span class="pad2">sabbaton</span></td><td class="tdlmx">} soleret</td><td class="tdlm">schuhe</td><td class="tdlm">scarpe</td><td class="tdlm">escarpe</td></tr> -<tr><td class="tdlm">29. fan-plate</td><td class="tdlm">ailerons</td></tr> -</table></div> -</div> - -<p>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.</p> - -<p>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 (<a href="#FIG11">Fig. 12</a>). -No. 2 is the front of a helm (Mus. d’Art, Paris, G, 163) in which<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -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 <a href="#APPENDIX_D">Appendix D</a>, page 178.</p> - -<div class="figcenter"> -<a name="FIG59" id="FIG59"></a> -<img src="images/fig59_112.jpg" width="600" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 59.</span> Attachment of jousting-helms to the cuirass.</div> -</div> - -<p>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.</p> - -<div class="figleft"> -<a name="FIG60" id="FIG60"></a> -<img src="images/fig60_112.jpg" width="60" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 60.</span><br /> -Side view of<br /> -attachment on<br /> -Fig. 59, 3.</div> -</div> - -<p>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 -<a href="#APPENDIX_D">Appendix D</a>.</p> - -<p><span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span></p> - -<p>The Marquis de Belleval published an interesting monograph on -this manuscript in 1866, which is now scarce and difficult to obtain.</p> - -<p>In the illustration on <a href="#PLATE_XVII">Plate XVII</a> the squires are shown arming their -masters from horseback, which appears to involve some gymnastic -exercises.</p> - -<p>That such agility of the armed man was by no means an artistic -licence we may gather from the fact that Froissart<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> 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 <cite>The Vaulting Master</cite>, written by W. Stokes, -an Oxford riding-master, in 1641.</p> - -<div><a name="PLATE_XXX" id="PLATE_XXX"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXX</em></p> -<img src="images/i_plate_30.jpg" width="600" alt="" /> -<div class="caption"> - -<p>ARMOUR OF THE MIDDLE XV CENT.</p> - -<p class="rt">ARMOUR OF FRIEDRICH DES SIEGREICHEN,<br /> -BY TOMASO DA MISSAGLIA, 1460 </p></div> -</div> - -<div class="figright"> -<a name="FIG61" id="FIG61"></a> -<img src="images/fig61_113.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 61.</span> Armourer in the lists<br /> -(Heralds’ Coll., MS. M, 6, f. 56).</div> -</div> - -<p>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.”</p> - -<p>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:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse0">Here’s that will make a stubborne armour weare</p> -<p class="verse0">Gentle as Persian silks and light as air,</p> -</div></div> - -<p class="noindent">which refers to the ease of mounting which his prescribed exercises -ensured.</p> - -<p>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 <cite>Instructions and Observations -and Orders Militarie</cite>, 1591–5, he writes:—</p> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p> - -<div class="blockquot"> - -<p>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.”</p> - -<p>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.</p></div> - -<p>The armour for the joust in the sixteenth and seventeenth centuries -was far too heavy to allow of such vagaries. Pluvinel in his <cite>Maneige -Royale</cite>, 1625, gives an imaginary conversation between himself and -the King which bears upon the subject:—</p> - -<div class="blockquot"> - -<p class="pad4">The King.</p> - -<p>It seems to me that such a man would have difficulty in -getting on his horse and being on to help himself.</p> - -<p class="pad4">Pluvinel.</p> - -<p>It would be very difficult, but with this armament the case has -been provided for. In this way, at triumphs and tourneys where<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span> -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.</p></div> - -<p>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).</p> - -<p>In the chapter on the <a href="#Page_62">Proving of Armour</a> 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:—</p> - -<div class="extract"> - -<p class="neginyy">1383. <cite>Chroniques de Dugesclin</cite>, line 5973 (edit. 1839).</p> - -<div class="poetry-container"><div class="poetry" lang="fr" xml:lang="fr"> -<p class="verse0">Leurs cuissieres osterent tres tous communement</p> -<p class="verse0">Par coi aler peussent trop plus legierement.</p> -</div></div></div> - -<p>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.</p> - -<div class="extract"> - -<p class="neginyy">1590. <cite>Discourses</cite>, p. 4, Sir John Smith.</p> - -<p class="pad5 noindent">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.</p></div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p> - -<div class="extract"> - -<p class="neginyy">1619. <cite>The Art of Warre</cite>, Edward Davies.</p> - -<p class="pad5 noindent">[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.</p> - -<p class="neginyy">1625. <cite>Souldiers’ Accidence</cite>, Markham.</p> - -<p class="pad5 noindent">As for the pouldron or the vant-brace they must be spared because -they are but cumbersome.</p></div> - -<p>Against these extracts we must place the opinions of military leaders -who deplored the disuse of armour:—</p> - -<div class="extract"> - -<p class="neginyy">1632. <cite>Militarie Instructions for the Cavallrie</cite>, Cruso.</p> - -<p class="pad5 noindent">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.</p> - -<p class="neginyy">1756. <cite>Rêveries</cite>, Marshal Maurice of Saxe, p. 56.</p> - -<p class="pad5 noindent" lang="fr" xml:lang="fr">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.</p></div> - -<p>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.</p> - - -<p class="p1 pfs90">THE WEIGHT OF ARMOUR</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>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.</p> - -<p>La Noue in his <cite>Discours Politiques et Militaires</cite>, 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<span class="over">e</span> 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.”</p> - -<div><a name="PLATE_XXXI" id="PLATE_XXXI"></a></div> -<div class="figcenter"> -<p class="right padr4 fs60"><em>PLATE XXXI</em></p> -<img src="images/i_plate_31.jpg" width="400" alt="" /> -<div class="caption"> - -PORTRAIT MEDAL OF COLOMAN, COLMAN, 1470–1532<br /> -<br /> -DESIGNS FOR ARMOUR BY ALBERT DURER, 1517</div> -</div> - -<p>On page 196 of Sir John Smith’s <cite>Instructions, Observations, and -Orders Militarie</cite>, 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 <cite>Rêveries</cite>, quoted above.</p> - -<p>Edward Ludlow, at the battle of Edgehill, 1642,<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> 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.”</p> - -<p>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 <cite>Traité des Armes</cite>, page 60: -<span lang="fr" xml:lang="fr">“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.”</span></p> - -<p>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,<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -as the Spanish proverb ran: <span lang="es" xml:lang="es">“Muerto el Cavallo, perdido el -hombre d’armas.”</span></p> - -<p>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.</p> - -<p>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.”</p> - -<p>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.</p> - -<p>The following table gives the weights of typical suits from the -fifteenth century onwards:—</p> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p> - -<p class="p1 pfs80">ARMOUR FOR THE JOUST</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl smcap" colspan="3">XV-XVI.—Helms (English).</td><td class="tdr">lb.</td><td class="tdr">oz.</td></tr> -<tr><td class="tdl pad5" colspan="3">Barendyne, Great Haseley, Oxon</td><td class="tdr">13</td><td class="tdr">8</td></tr> -<tr><td class="tdl pad5" colspan="3">Wallace Collection, No. 78</td><td class="tdr">17</td><td class="tdr">0</td></tr> -<tr><td class="tdl pad5" colspan="3">Westminster Abbey</td><td class="tdr">17</td><td class="tdr">12</td></tr> -<tr><td class="tdl pad5" colspan="3">Brocas, Rotunda, Woolwich</td><td class="tdr">17</td><td class="tdr">12</td></tr> -<tr><td class="tdl pad5" colspan="3">Dawtrey, Petworth, Sussex</td><td class="tdr">21</td><td class="tdr">8</td></tr> -<tr><td class="tdl pad5" colspan="3">Captain Lindsay, Sutton Courtenay, Berks</td><td class="tdr">24</td><td class="tdr">14</td></tr> -<tr><td class="tdl" colspan="3">1518. Madrid, A, 37</td><td class="tdr">41</td><td class="tdr">9</td></tr> -<tr><td class="tdl pad3 smcap">Suits.</td></tr> -<tr><td class="tdl" colspan="3">1520. Tower, II, 28, for fighting on foot</td><td class="tdr">93</td><td class="tdr">0</td></tr> -<tr><td class="tdlmy nowrap" colspan="2" rowspan="2">1530 (<em>circ.</em>). Madrid, A, 26</td><td class="tdl">{ man <span class="pad8"> </span></td><td class="tdr">79</td><td class="tdr">0</td></tr> -<tr><td class="tdl">{ horse</td><td class="tdr">79</td><td class="tdr">0</td></tr> -<tr><td class="tdl" colspan="3">1590. Tower, II, 9, man</td><td class="tdr">103</td><td class="tdr">0</td></tr> -</table></div> - -<p class="p1 pfs80">WAR HARNESS</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl" colspan="3">1439. Musée d’Artillerie, Paris, G, 1, man and horse</td><td class="tdr">163</td><td class="tdr">0</td></tr> -<tr><td class="tdlmy" colspan="2" rowspan="2">1514. Tower, II, 5</td><td class="tdl">{ man <span class="pad10"> </span></td><td class="tdr">64</td><td class="tdr">13</td></tr> -<tr><td class="tdl">{ horse</td><td class="tdr">69</td><td class="tdr">3</td></tr> -<tr><td class="tdl" colspan="3">1588. Musée d’Artillerie, G, 80, man</td><td class="tdr">92</td><td class="tdr">6</td></tr> -<tr><td class="tdl" colspan="3">1590. Tower, II, 10</td><td class="tdr">79</td><td class="tdr">0</td></tr> -<tr><td class="tdl" colspan="3">1590. Tower, II, 12</td><td class="tdr">55</td><td class="tdr">8</td></tr> -<tr><td class="tdl" colspan="3">1612. Tower, II, 18</td><td class="tdr">77</td><td class="tdr">14</td></tr> -</table></div> - -<p class="p1 pfs80">CAVALRY</p> - -<div class="fs70"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl"></td><td class="tdc"></td><td class="tdc">1450</td><td class="tdc">1875</td><td class="tdc"></td><td class="tdc">1909</td></tr> -<tr><td class="bt bl"></td><td class="bt"></td><td class="bt bl"></td><td class="bt bl"></td><td class="bt bl"></td><td class="bt br"></td></tr> -<tr><td class="tdl bl"> G, 1, Musée d’Artillerie, Paris.</td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz"></td><td class="br"></td></tr> -<tr><td class="tdlz pad2"><em>Man, about 140 lb.</em></td><td class="tdl">}</td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz"></td><td class="br"></td></tr> -<tr><td class="tdlz pad2"><em>Armour for man and horse, 163 lb.</em><a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a></td> - <td class="tdl">}</td><td class="tdlz">333 lb.</td><td class="tdlz"></td><td class="tdlz"></td><td class="br"></td></tr> -<tr><td class="tdlz pad2"><em>Arms, clothes, saddlery, etc., about 30 lb.</em></td><td class="tdl">}</td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz"></td><td class="br"></td></tr> -<tr><td class="bl bbb"></td><td class="bbb"></td><td class="bl"></td><td class="bl"></td><td class="bl"></td><td class="br"></td></tr> -<tr><td class="tdlz tdpp">British Household Cavalry</td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz tdpp">308 lb.</td><td class="tdlz tdpp">}</td><td class="br"></td></tr> -<tr><td class="tdlz pad3">” Heavy <span class="pad3">”</span></td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz">280 lb.</td><td class="tdlz">}</td><td class="br"></td></tr> -<tr><td class="tdlz pad3">” Medium <span class="pad2">”</span></td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz">266 lb.</td><td class="tdlz">}</td> - <td class="tdl br">246 lb.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a></td></tr> -<tr><td class="tdlz pad3">” Light <span class="pad2">”</span></td><td class="tdl"></td><td class="tdlz"></td> - <td class="tdlz">259 lb.<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a></td> - <td class="tdlz">}</td><td class="br"></td></tr> -<tr><td class="tdlz">German Cuirassier</td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz"></td><td class="tdl br">334 lb.</td></tr> -<tr><td class="tdlz fs90 pad3" colspan="2"><em>All the above are Service equipment, including rider and saddlery.</em></td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz"></td><td class="br"></td></tr> -<tr><td class="bb bl"></td><td class="bb"></td><td class="bb bl"></td><td class="bb bl"></td><td class="bb bl"></td><td class="bb br"></td></tr> -</table></div> - -<p class="p2 pfs80">INFANTRY</p> - -<div class="fs70"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdl"></td><td class="tdc"></td><td class="tdc">1550</td><td class="tdc">1875</td><td class="tdc">1911</td></tr> -<tr><td class="bt bl"></td><td class="bt"></td><td class="bt bl"></td><td class="bt bl"></td><td class="bt br"></td></tr> -<tr><td class="tdlz" colspan="2">106–8, Rotunda, Woolwich, Maltese Suits.</td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz br"></td></tr> -<tr><td class="tdlz pad3"><em>Half-armour and helmet, 25 lb.</em></td><td class="tdl">}</td><td class="tdlz" rowspan="2">40 lb.</td><td class="tdlz"></td><td class="tdlz br"></td></tr> -<tr><td class="tdlz pad3"><em>Clothes and arms, about 15 lb.</em></td><td class="tdl">}</td><td class="tdlz"></td><td class="tdlz br"></td></tr> -<tr><td class="bl bbb"></td><td class="bbb"></td><td class="bl"></td><td class="bl"></td><td class="bl br"></td></tr> -<tr><td class="tdlz tdpp">British Infantry.</td><td class="tdl"></td><td class="tdlz"></td><td class="tdlz"></td><td class="tdlz br"></td></tr> -<tr><td class="tdlz"><em>Service equipment, including arms</em></td><td class="tdl"></td><td class="tdlz"></td> - <td class="tdlz">52 lb.<a name="FNanchor_129a_129a" id="FNanchor_129a_129a"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a></td> - <td class="tdlz br">59 lb. 11 oz.<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a></td></tr> -<tr><td class="bb bl"></td><td class="bb"></td><td class="bb bl"></td><td class="bb bl"></td><td class="bb bl br"></td></tr> -</table></div> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> <cite>Arch. Journ.</cite>, LX.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> <cite>Archives de Bruxelles</cite>, Cat. Mus. Porte de Hal, 1885.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> <cite>Jahrbuch des Kunsthist. Sammlungen</cite>, II, 1032.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> <cite>Arch. Journ.</cite>, IV.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> <cite>Archæologia</cite>, LVII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> <cite>Antiquarian Repertory</cite>, IV.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> Johnes’ edition, I, 449.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> <cite>Ludlow’s Memoirs</cite>, Firth, I, 44.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> Catalogue of the Museum.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> Sir G. P. Colley, <span class="fs70">K.S.I.</span>, <cite>Encyc. Brit.</cite>, 1875.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> Col. F. N. Maude, <cite>Encyc. Brit.</cite>, 1910.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> <cite>Morning Post</cite>, December 9, 1911.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="THE_ARMOURERS_COMPANY" id="THE_ARMOURERS_COMPANY"></a><a href="#CONTENTS">THE ARMOURERS’ COMPANY OF THE CITY OF LONDON, -ARMOURERS’ HALL, COLEMAN STREET, E.C.</a></h2> - -<p class="drop-capy1">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.</p> - -<div class="figleft"> -<a name="FIG62" id="FIG62"></a> -<img src="images/fig62_120.jpg" width="175" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 62.</span> Arms of the Armourers’<br /> -Company of London.</div> -</div> - -<p>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 <a href="#APPENDIX_B">Appendices B</a>, <a href="#APPENDIX_K">K</a> -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.”</p> - -<p>Again, under Charles I, in the appeal of the Company to the -Crown, leave to use the mark is requested “because divers cutlers,<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> -smythes, tynkers & other botchers of arms by their unskillfulness have -utterly spoiled many armes, armours, &c.”</p> - -<p>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 <a href="#APPENDIX_A">Appendix A</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.”</p> - -<p>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 <a href="#APPENDIX_J">Appendix J</a> 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.”</p> - -<div class="figleft"> -<a name="FIG63" id="FIG63"></a> -<img src="images/fig63_122.jpg" width="275" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 63.</span> Design on manifer of suit made for Henry,<br /> -Prince of Wales, by Pickering, <em>circ.</em> 1611.<br /> -Windsor Castle. Half-size (from a rubbing).</div> -</div> - -<p>In the year 1580 the Armourers’ Company endeavoured to obtain<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -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<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a> 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.’”</p> - -<p>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,<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a> to whom is attributed the suit made<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span> -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).</p> - -<p>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.</p> - -<p>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.”<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> -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.”</p> - -<p>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 <cite>Almain Armourer’s Album</cite>, 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 (<a href="#FIG32">Fig. 32</a>).</p> - -<p>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).</p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> Sir Walter Mildmay, Chancellor of the Exchequer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> William Pickering was Master of the Company 1608–9.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> In September, 1575, “Hopkins, a maker of coining irons in the Mint, has also been making calivers -and great iron pieces.”—State Papers, <em>sub ann.</em></p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="LISTS_OF_EUROPEAN_ARMOURERS" id="LISTS_OF_EUROPEAN_ARMOURERS"></a><a href="#CONTENTS">LISTS OF EUROPEAN ARMOURERS</a></h2> - -<p class="drop-capy">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.</p> - -<p class="p1 pfs90">ENGLAND</p> - -<p class="pfs60">(K.A., Q.A. = KING’S OR QUEEN’S ARMOURER)</p> - -<div class="ealist"> - -<p>Albert, Hans. 1515.</p> - -<p>Ashton, John. 1633. K.A. and Armourers’ Co.</p> - -<p>Aynesley, Edward. 1633. K.A. and Armourers’ Co.</p> - -<p>Baker, Thomas.<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a> 1547. Armourers’ Co.</p> - -<p>Basyn, John. 1524–44. (Naturalized Norman.)</p> - -<p>Bawdesonne, Alen. 1547. King’s Armourer, Westminster.</p> - -<p>Blewbery, John. 1511–16. (Yeoman of the Armoury at Greenwich, -1515.)</p> - -<p>Boreman, W., also called Alias Hynde. 1599–1609. (Appointed -armourer at Greenwich, 1599. Will dated 1645.)</p> - -<p>Brande, Rauffe.<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> 1520.</p> - -<p>Baltesar Bullato. 1532. Milanese, King’s Armourer.</p> - -<p>Carter, William. 1534. Ludlow.</p> - -<p>Clere, Hans. 1530. K.A., Greenwich.</p> - -<p>Clynkerdager, Hans. 1542–4. K.A., Greenwich.</p> - -<p>Clynkerdager, John. 1525.</p> - -<p>Copeland. 1529. London.</p> - -<p>Cooper, John. 1627–9. Keeper of the King’s Brigandines.</p> - -<p>Cowper, Thomas. 1559. K.A., Greenwich.</p> - -<p>Coxe, Wm. 1633. K.A. and Armourers’ Co.</p> - -<p>Croche, Francis. 1528–9. K.A., Greenwich.</p> - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p> - -<p>Crochet, John. 1515–20. K.A., Greenwich.</p> - -<p>Crompton, John. 1544. Southwark.</p> - -<p>Crouche, Wm. 1633. K.A. and Armourers’ Co.</p> - -<p>Cutler, Richard.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> 1520.</p> - -<p>Dael, Thomas. 1515. K.A., Greenwich.</p> - -<p>Daniele, Edmond.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> 1547.</p> - -<p>Daniele, John.<a name="FNanchor_138a_138a" id="FNanchor_138a_138a"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> 1547.</p> - -<p>Darwin, William. 1613. Yeoman of the Armoury at Greenwich.</p> - -<p>Dawson. 1515. K.A., Greenwich.</p> - -<p>Dedikes, Dirike. 1530. Yeoman of the Armoury at Greenwich.</p> - -<p>Dericke or Diricke, Mathew. 1559–74. K.A., Greenwich.</p> - -<p>Dericke or Diricke, Robert. 1524.</p> - -<p>Diconson, John. 1528. K.A., Greenwich.</p> - -<p>Faulkenor, Roger.<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a> 1625–31.</p> - -<p>Fevers, Peter. 1512–18. K.A., Greenwich.</p> - -<p>Foster, Rowland. 1633. K.A. and Armourers’ Co.</p> - -<p>Franklin, John. 1633. K.A. and Armourers’ Co.</p> - -<p>Fuller, James. 1559. Yeoman of the Armoury, Greenwich.</p> - -<p>Garret, John. 1559–1601 (date of will). Q.A., Greenwich.</p> - -<p>Gurre, Wm. 1511–38. Brigandarius.</p> - -<p>Halder, Jacob. 1574. Q.A., Greenwich.</p> - -<p>Halore (?), Jacob. 1559. Q.A., Greenwich. (Possibly the same as Halder.)</p> - -<p>Harford, Richard. 1590. London.</p> - -<p>Herste, Martyn. 1574. Q.A., Greenwich.</p> - -<p>Hill, Johan. 1434. Armourer to Henry VI. See <a href="#Page_173">page 173</a>.</p> - -<p>Horne, Geofrey. 1516–18.</p> - -<p>Hotton, Richard. 1592.</p> - -<p>Hunter, Hans.<a name="FNanchor_138b_138b" id="FNanchor_138b_138b"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> 1547. Westminster.</p> - -<p>Jacobi or Jacobe.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a> 1530–90. Master Armourer, Greenwich.</p> - -<p>Kelte, John. 1559–74. Q.A., Greenwich.</p> - -<p>Kemp, Jasper. 1544. K.A., Greenwich.</p> - -<p>Keymer, Roger. 1571. Q.A., Greenwich.</p> - -<p>Kirke, John. 1577. Master Armourer at Greenwich.</p> - -<p><span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></p> - -<p>Kirkener, Erasmus or Asamus. 1519–93. Brigandarius, 1538; Chief -Armourer, 1544.</p> - -<p>Kornelys. 1515. K.A., Greenwich.</p> - -<p>Lasy, John. 1533. Nottingham.</p> - -<p>Lincoln, Thomas. 1604–8. Yeoman of the Armoury at Greenwich.</p> - -<p>Mare de la, Will. K.A., 1672.</p> - -<p>Marshall, Nicholas. 1533. K.A. and Armourers’ Co.</p> - -<p>Martyn, “Old.” 1544. K.A., Greenwich.</p> - -<p>Mightner, Hans. 1559–74. Q.A., Greenwich.</p> - -<p>Oliver, Jermyn. 1514–44. (Naturalized Norman.)</p> - -<p>Pellande, Richard. 1520.</p> - -<p>Pellysonne, Frances. 1524–44. (Naturalized “from the domains of -the Emperor.”)</p> - -<p>Pickering, William. 1591–1630. Master Armourer at Greenwich, -1604–14.</p> - -<p>Pipe, Nighel. 1559. Q.A., Greenwich.</p> - -<p>Pitwell, Giles. 1516–44. (Naturalized Gascon.)</p> - -<p>Polston, John. 1552. K.A., Greenwich.</p> - -<p>Pounde, John de. 1520.</p> - -<p>Poyes, Francis. 1525–44. (Naturalized Norman.)</p> - -<p>Purday, John. 1562.</p> - -<p>Sewell, John. 1590–1.</p> - -<p>Sherman, Nicolas. 1629. Chief Armourer at Greenwich.</p> - -<p>Spirarde, Carries or Tarys. 1574. Q.A., Greenwich.</p> - -<p>Spyltherup or Speldrup, Francis.<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> 1532.</p> - -<p>Stephens, Thos. 1626. K.A. and Armourers’ Co.</p> - -<p>Stile, John.<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a> 1524. K.A., Greenwich.</p> - -<p>Stone, Benjamin. 1636. Sword-smith, Hounslow.</p> - -<p>Ureland, Peter van. 1515. Gilder and Graver, Greenwich.</p> - -<p>Watt Copyn Jacob de. 1512–26. K.A., Greenwich.</p> - -<p>Whetstone. 1628.</p> - -<p>White, Thomas. 1416. Master Armourer.</p> - -<p>Wolf, John. 1538–42. K.A., Greenwich.</p> - -<p>Wollwarde, Thomas. 1530–41. K.A., Greenwich.</p> - -<p>Woode, Richard. 1590. London.</p> -</div> - -<p><span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span></p> - - -<p class="p1 pfs90">GERMAN ARMOURERS</p> - -<div class="ealist"> - -<p>Aldegraver, Heinrich. 1502–58.</p> - -<p>Brabenter, Wilhelm, Solingen. Sixteenth century.</p> - -<p>Colman, Coloman. 1470–1532. Augsburg. Mark No. 40. See -<a href="#Page_133">page 133</a>.</p> - -<p>Colman (Helmschmied), Desiderius. 1552. Mark No. 40. See -<a href="#Page_134">page 134</a>.</p> - -<p>Colman (Helmschmied), Lorenz. 1490–1516. Mark Nos. 2, 23, 41. -See <a href="#Page_133">page 133</a>.</p> - -<p>Frauenpreis, Matthaias. 1549. Mark No. 38. See <a href="#Page_135">page 135</a>.</p> - -<p>Frauenpreis, Matthaias, the younger. See <a href="#Page_135">page 135</a>.</p> - -<p>Grofsschedl, Franz. Landshut. 1568. Mark No. 39.</p> - -<p><ins class="corr" title="Transcriber's Note—Original text: 'Grünewald, Hans'">Grünewalt, Hans</ins>. Nuremberg. 1503. Mark No. 54. See page <a href="#Page_135">135</a>.</p> - -<p>Hopfer, Daniel. 1566. See <a href="#Page_136">page 136</a>.</p> - -<p>Jövingk, Jakob. Dresden. 1650–9.</p> - -<p>Knopf, Heinrich. 1604.</p> - -<p>Lochner, Conrad. Nuremberg. 1567. Mark No. 46. See <a href="#Page_136">page 136</a>.</p> - -<p>Obresch, Heinrich. Grätz. 1590. Mark No. 47.</p> - -<p>Peffenhauser, Anton. Augsburg. 1566–94. Mark No. 48.</p> - -<p>Ringler, Hans. Nuremberg. 1560. Mark No. 49.</p> - -<p>Rockenberger or Rosenberger, Hans. 1543–70. Dresden.</p> - -<p>Rockenburger, Sigmund. 1554–72. Mark No. 79.</p> - -<p>Rotschmied. Nuremberg. 1597. Mark No. 6.</p> - -<p>Seusenhofer, Conrad. Innsbruck. 1502–18. Mark No. 7. See -<a href="#Page_141">page 141</a>.</p> - -<p>Seusenhofer, Jorg. Innsbruck. 1558. Mark No. 8. <a href="#Page_141">See page 141</a>.</p> - -<p>Seusenhofer, Wilhelm. Augsburg. 1547.</p> - -<p>Siebenburger, Valentine. Nuremberg. 1547. Mark Nos. 20, 74.</p> - -<p>Sigman, George. 1560. Mark No. 76.</p> - -<p>Speyer, Peter. Dresden. 1560. Mark No. 60.</p> - -<p>Speyer, Wolf. Dresden. 1580.</p> - -<p>Topf, Jacob. Innsbruck. 1530–90. See <a href="#Page_143">page 143</a>.</p> - -<p>Treytz, Adrian. Innsbruck. 1469–1517. Mark No. 15.</p> - -<p>Veit. Nuremberg. Sixteenth century. Mark No. 16.</p> - -<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p> - -<p>Wolf, Sigismond. Landshut. 1554.</p> - -<p>Worms, Wilhelm (father and son). Nuremberg. 1539. Mark No. 17.</p> -</div> - - -<p class="p1 pfs90">FRANCE</p> - -<div class="ealist"> - -<p>Petit, M. Seventeenth century. Mark No. 83.</p> -</div> - - -<p class="p1 pfs90">NETHERLANDS</p> - -<div class="ealist"> - -<p>Merate, Gabriel and Francesco. Arbois. 1495. Mark Nos. 18, 51, 53. -See <a href="#Page_136">page 136</a>.</p> - -<p>Voys, Jacques. Brussels. Fifteenth to sixteenth century. Mark -No. 56.</p> -</div> - - -<p class="p1 pfs90">ITALY</p> - -<div class="ealist"> - -<p>Campi, Bartolomeo. Milan. 1573. See <a href="#Page_132">page 132</a>.</p> - -<p>Camelio, Victor. Brescia. 1500. See <a href="#Page_131">page 131</a>.</p> - -<p>Cantoni, Bernardino. Milan. 1500. See <a href="#Page_133">page 133</a>.</p> - -<p>Chiesa, Pompeo della. Milan. 1590.</p> - -<p>Missaglia, Antonio. 1492. Mark Nos. 24, 25, 26. See <a href="#Page_138">page 138</a>.</p> - -<p>Missaglia, Petrajolo. Milan. 1390. Mark Nos. 27, 78.</p> - -<p>Missaglia, Tomaso. Milan. 1468. Mark Nos. 27, 78. See <a href="#Page_137">page 137</a>.</p> - -<p>Mola, Gesparo. Rome. 1640. See <a href="#Page_139">page 139</a>.</p> - -<p>Negroli, Philip and Jacopo. Milan. 1530–90. Mark Nos. 42, 43, -44. See <a href="#Page_140">page 140</a>.</p> - -<p>Piccinino, Lucio. Milan. 1550–70. See <a href="#Page_140">page 140</a>.</p> -</div> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> At funeral of Henry VIII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> Sent to Flanders in this year to provide armour, etc., for the Field of the Cloth of Gold.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> Sent to Flanders in this year to provide armour, etc., for the Field of the Cloth of Gold.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> At funeral of Henry VIII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> Made sundry petitions for inquiry as to the state of the Armouries, S.P.D. Car. I, xiii, 96, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> Now considered to be the same as Topf. Only mention as armourer in England, 1590.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> Appropriated gold intended to gild armour, also clipped money.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> Died by burning in this year.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="SHORT_BIOGRAPHIES_OF_NOTABLE_ARMOURERS" id="SHORT_BIOGRAPHIES_OF_NOTABLE_ARMOURERS"></a><a href="#CONTENTS">SHORT BIOGRAPHIES OF NOTABLE ARMOURERS</a></h2> - -<div class="sidenote"> -<em>Hans Burgmair</em>,<br /> -Augsburg, 1473–1531. -</div> - -<p>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<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a> also inclined to this view. His principal -works were the Triumph of Maximilian and the illustrations of the -<cite>Weisz Künig</cite>, 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.</p> - -<p>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 <a href="#PLATE_XXXI">Plate XXXI</a>.</p> - -<div class="sidenote"> -<em>Vittore Camelio</em>,<br /> -Venice, <em>circ.</em> 1450–1509. -</div> - -<p>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<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span> -or concession for the sole working of his invention by the Senate of -Venice from 1509 for five years.</p> - -<div class="sidenote"> -<em>Bartolomeo Campi</em>,<br /> -Pesaro, Venice, Paris, 1573. -</div> - -<p>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<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -at Madrid is the only example of his craft as an armourer that has -come down to us (<a href="#PLATE_XIV">Plate XIV</a>).</p> - -<div class="sidenote"> -<em>Jacopo and Bernardino<br /> -Cantoni</em>, Milan,<br /> -1477–1500. -</div> - -<div class="figright"> -<a name="FIG64" id="FIG64"></a> -<img src="images/fig64_133.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 64.</span> Cantoni’s mark<br /> -on a brigandine, C, 11,<br /> -Madrid.</div> -</div> - -<p>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.</p> - -<div class="sidenote"> -<em>Lorenz Colman</em>,<br /> -Augsburg, d. 1516.<br /> -Mark Nos. 23, 41. -</div> - -<p>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.</p> - -<div class="sidenote"> -<em>Coloman Colman</em>,<br /> -Augsburg, 1476–1532.<br /> -Mark No. 40. -</div> - -<p>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<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -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.</p> - -<p>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 <a href="#Page_9">page 9</a>).</p> - -<p>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.</p> - -<div class="sidenote"> -<em>Desiderius Colman</em>,<br /> -Augsburg, <em>circ.</em> 1532.<br /> -Marks, the same as No. 40. -</div> - -<div class="figright"> -<a name="FIG65" id="FIG65"></a> -<img src="images/fig65_135.jpg" width="300" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 65.</span> Detail of Shield by Desiderius<br /> -Colman (<a href="#PLATE_XXIV">Plate XXIV</a>).</div> -</div> - -<p>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,<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span> -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 (<a href="#PLATE_XXIV">Plate -XXIV</a>, Fig. 65, also <a href="#Page_16">page 16</a>).</p> - -<div class="sidenote"> -<em>Matthaias Frauenpreis</em>,<br /> -Augsburg.<br /> -Father, 1529–49.<br /> -Son, 1530–1604.<br /> -Mark No. 38. -</div> - -<p>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:—</p> - -<div class="fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary=""> -<tr><td class="tdlw">Madrid.</td><td class="tdlw">A, 198. A brassard forming part of the suit A, 190, made by Desiderius Colman.</td></tr> -<tr><td class="tdlw"></td><td class="tdlw">D, 68. A shield signed with his name on which the figure of Fortuna is ascribed to Hans Burgmair.</td></tr> -<tr><td class="tdlw"></td><td class="tdlw">M, 6. A small shield marked with his stamp No. 38.</td></tr> -<tr><td class="tdlw">Vienna.</td><td class="tdlw">950. Field suit of Archduke Maximilian.</td></tr> -<tr><td class="tdlw"></td><td class="tdlw">397. A white and gold suit bearing the mark No. 38.</td></tr> -<tr><td class="tdlw">Dresden.</td><td class="tdlw">G, 39. A fine suit of Kurfürst Moritz, bearing the mark No. 38. Illustrated on <a href="#PLATE_VII">Plate VII</a>.</td></tr> -</table></div> - -<div class="sidenote"> -<em>Hans Grünewalt</em>,<br /> -Nuremberg, 1440–1503.<br /> -Mark No. 54. -</div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p> - -<div class="sidenote"> -<em>Daniel Hopfer</em>,<br /> -Augsburg, <em>circ.</em> 1495–1566. -</div> - -<p>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.</p> - -<div class="sidenote"> -<em>Conrad Lochner</em>,<br /> -Nuremberg, 1510–67.<br /> -Mark No. 46. -</div> - -<p>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.</p> - -<div class="sidenote"> -<em>Gabrielle and Francesco<br /> -Merate</em>,<br /> -Milan and Arbois,<br /> -<em>circ.</em> 1494–1529.<br /> -Marks, possibly 18, 51, 53. -</div> - -<p>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<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="sidenote"> -<em>Thomaso Missaglia</em>,<br /> -Milan, <em>circ.</em> 1415–1468.<br /> -Marks 27, 78. -</div> - -<div class="figright"> -<a name="FIG66" id="FIG66"></a> -<img src="images/fig66_138.jpg" width="150" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 66.</span> Capital formerly in the<br /> -Via degli Spadari, Milan.</div> -</div> - -<p>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<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -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 (<a href="#PLATE_XXX">Plate XXX</a>). -Baron de Cosson<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> 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.</p> - -<div class="sidenote"> -<em>Antonio Missaglia</em>,<br /> -Milan, <em>circ.</em> 1430–92.<br /> -Marks 24, 25, 26. -</div> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p> - -<p>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 (<a href="#PLATE_II">Plate II</a>), 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 (<a href="#PLATE_X">Plate X</a>), 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.</p> - -<div class="sidenote"> -<em>Gasparo Mola</em>,<br /> -Rome, <em>circ.</em> 1590–1640. -</div> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span></p> - -<div class="sidenote"> -<em>Philippo and Jacomo Negroli</em>,<br /> -Milan, <em>circ.</em> 1521–80.<br /> -Marks 42, 43, 44. -</div> - -<p>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 (<a href="#PLATE_XXIX">Plate XXIX</a>). 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.</p> - -<div class="sidenote"> -<em>Anton Peffenhauser</em>,<br /> -Augsburg, 1525–1603. -</div> - -<p>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 (<a href="#PLATE_XIV">Plate XIV</a>, also -p. 75). His works are found as follows: Madrid, A, 290. Dresden, -C, 10, 13, 15<em>a</em>, 20; D, 11; E, 6<em>a</em>, 10; G, 146. Vienna, 489, 490.</p> - -<div class="sidenote"> -<em>Lucio Piccinino</em>,<br /> -Milan, <em>circ.</em> 1590. -</div> - -<p>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.</p> - -<div class="sidenote"> -<em>Pompeo della Chiesa</em>,<br /> -Milan, 1590. -</div> - -<p>The son of a noted craftsman, Pompeo was -one of the foremost armourers in the latter -years of the sixteenth century. He was Court<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span> -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.</p> - -<div class="sidenote"> -<em>Conrad, Hans, and Jorg<br /> -Seusenhofer</em>, 1470–1555.<br /> -Marks 7, 8. -</div> - -<p>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 <cite>Weisz -Künig</cite>, 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.</p> - -<div class="figright"> -<a name="FIG67" id="FIG67"></a> -<img src="images/fig67_141.jpg" width="250" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 67.</span> Engraving on the left cuisse of<br /> -Henry VIII’s Suit, made by Conrad<br /> -Seusenhofer (Tower, II, 5).</div> -</div> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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 <cite>Archæologia</cite>, XXII.</p> - -<p>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 <a href="#PLATE_X">Plates X</a>, <a href="#PLATE_XII">XII</a>, <a href="#FIG67">Fig. 67</a>).</p> - -<p>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 <cite>Weisz Künig</cite>, Seusenhofer suggests some secret method of working<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -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.”</p> - -<p>The date of Conrad’s death is unknown, but it was, as far as can -be ascertained, about the year 1517.</p> - -<p>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.</p> - -<div class="sidenote"> -<em>Jacob Topf</em>,<br /> -Innsbruck, 1530–90. -</div> - -<p>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,”<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a> who is now considered -to be Topf. We have, however, a most valuable record of work -which was in all probability his in the <cite>Almain Armourer’s Album</cite>, -now in the Art Library of the Victoria and Albert Museum.</p> - -<p>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.</p> - -<p>On No. 14 is the signature: “These Tilte peces made by me -Jacobe,” but the name Topf does not occur in the Album.</p> - -<p>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 <cite>History of London</cite>. Strutt also engraved -the suit of George, Earl of Cumberland, in his <cite>Dresses and Costumes</cite> -(II, Plate CVLI). The library of the Duchess of Portland was sold in<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> -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.</p> - -<p>Several of the drawings have been carefully reproduced by Mr. -Griggs in a book, edited by Viscount Dillon, under the title of <cite>An -Almain Armourer’s Album</cite>, and it is by the courtesy of the editor -and publisher that the accompanying illustrations are reproduced in the -present work.</p> - -<p>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.</p> - -<div class="p1 fs80"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdc smcap fs80">Drawings</td><td class="tdc smcap fs80">Suits in Existence</td></tr> -<tr><td class="tdlw"></td><td class="tdc fs80">(None complete in all parts.)</td></tr> -<tr><td class="tdlw wd50"> 1. The Earle of Rutlande.</td></tr> -<tr><td class="tdlw"> 2. The Earle of Bedforde.</td></tr> -<tr><td class="tdlw"> 3. The Earle of Lesseter (1st suit).</td></tr> -<tr><td class="tdlw"> 4. The Earle of Sussex</td><td class="tdl">The gauntlets were in the Spitzer Collection.</td></tr> -<tr><td class="tdlw"> 5. Duke John of ffineland Prince of Sweden.</td></tr> -<tr><td class="tdlw"> 6. Ser William Sentle.</td></tr> -<tr><td class="tdlw"> 7. My Lorde Scrope.</td></tr> -<tr><td class="tdlw"> 8. The Earle of Lesseter (2nd suit)</td><td class="tdl">A portion of a suit in the Tower of London - (II, 10) is of very similar design—evidently by the same hand.</td></tr> -<tr><td class="tdlw"> 9. My Lord Hundson.</td></tr> -<tr><td class="tdlw">10. Ser George Howarde.</td></tr> -<tr><td class="tdlw">11. My Lorde Northe.</td></tr> -<tr><td class="tdlw">12. The Duck of Norfocke.</td></tr> -<tr><td class="tdlw">13. The Earle of Woster</td><td class="tdl">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.</td></tr> -<tr><td class="tdlw">14. Ser Henry Lee (1st suit).</td></tr> -<tr><td class="tdlw">15. Sur Cristofer Hattone (1st suit)</td><td class="tdl">Windsor Castle. The gorget is a restoration (<a href="#PLATE_XXV">Plates XXV</a>, <a href="#PLATE_XXVI">XXVI</a>).</td></tr> -<tr><td class="tdlw"><span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span> - 16. The Earle of Penbrouke</td><td class="tdl">Wilton House.</td></tr> -<tr><td class="tdlw">17. Ser Cristofer Hattone (2nd suit)</td><td class="tdl">The suit of Prince Henry at Windsor was copied from this and from No.17 by W. Pickering (see <a href="#PLATE_XX">Plate XX</a>).</td></tr> -<tr><td class="tdlw">18. Ser John Smithe</td><td class="tdl">Tower, II, 12. This suit has brassards which are not shown in the sketch in the Album (<a href="#PLATE_XXVI">Plates XXVI</a>, <a href="#PLATE_XXVIII">XXVIII</a>).</td></tr> -<tr><td class="tdlw">19. Sr. Henry Lee, Mr. of tharmerie (2nd suit).</td><td class="tdl">Armet in the Tower (IV, 29). Locking-gauntlet in the - Hall of the Armourers’ and Braziers’ Co., London (<a href="#PLATE_XIII">Plate XIII</a>, Figs. 32, 68). Burgonet, buffe, and leg-armour at Stockholm.</td></tr> -<tr><td class="tdlw">20. The Earle of Cumberlande</td><td class="tdl">Appleby Castle.</td></tr> -<tr><td class="tdlw">21. Sr. Cristopher Hatton (3rd suit).</td></tr> -<tr><td class="tdlw">22. Mr. Macke Williams.</td></tr> -<tr><td class="tdlw">23. My L. Chancellor [Sir Thomas Bromley].</td></tr> -<tr><td class="tdlw">24. My L. Cobbon.</td></tr> -<tr><td class="tdlw">25. Sir Harry Lea Mr. of the Armore (3rd suit).</td><td class="tdl">Hall of the Armourers and Braziers’ 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 <cite>Nat. Dict. of Biog.</cite> states that she was Sir Henry Lee’s mistress.</td></tr> -<tr><td class="tdlw">26. My Lorde Cumpton 27. Mr. Skidmur [John Scudamor].</td><td class="tdl">Portions of this and of the next suit were formerly at Home Lacy and are now in the Metropolitan Museum, New York.</td></tr> -<tr><td class="tdlw">28. My Lorde Bucarte</td><td class="tdl">Wallace Collection, 435.</td></tr> -<tr><td class="tdlw">29. Sr. Bale Desena.</td></tr> -</table></div> - -<p>There is also a suit at Vienna (491), made for Archduke Carl of -Steiermark, which Boeheim considered to be from Topf’s hands.</p> - -<p><span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span></p> - -<p>Fuller details of the above suits will be found in the reproduction -of the Album above referred to, and also in <cite>Arch. Journ.</cite>, LI, 113.</p> - -<div class="figcenter"> -<a name="FIG68" id="FIG68"></a> -<img src="images/fig68_146.jpg" width="500" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 68.</span> Gauntlet and armet of Sir Henry Lee (from the <cite>Armourer’s Album</cite>,<br /> -Victoria and Albert Museum). See also <a href="#PLATE_XIII">Plate XIII</a> and <a href="#FIG32">Fig. 32</a>.</div> -</div> - -<div class="figcenter"> -<a name="FIG69" id="FIG69"></a> -<img src="images/fig69_146.jpg" width="125" alt="" /> -<div class="caption"> - -<span class="smcap">Fig. 69.</span> Rubbing of design on<br /> -breast of Sir Henry Lee’s suit,<br /> -Armourers’ Hall, London.</div> -</div> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> Meister der Waffenschmiedkunst.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> <cite>Arch. Jour.</cite>, XLVIII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> See <a href="#Page_66">page 66</a>.</p> -</div></div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="LIST_OF_ARMOURERS_MARKS" id="LIST_OF_ARMOURERS_MARKS"></a><a href="#CONTENTS">LIST OF ARMOURERS’ MARKS</a></h2> - -<p class="drop-capy">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.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdr">A</td><td class="tdl">= Athens, Ethnological Mus.</td></tr> -<tr><td class="tdr">B</td><td class="tdl">= Brussels, Porte de Hal.</td></tr> -<tr><td class="tdr">Ber</td><td class="tdl">= Berlin, Zeughaus.</td></tr> -<tr><td class="tdr">D</td><td class="tdl">= Dresden, Johanneum.</td></tr> -<tr><td class="tdr">G</td><td class="tdl">= Geneva.</td></tr> -<tr><td class="tdr">L</td><td class="tdl">= London, Tower.</td></tr> -<tr><td class="tdr">M</td><td class="tdl">= Madrid, Real Armeria.</td></tr> -<tr><td class="tdr">N</td><td class="tdl">= Nuremberg.</td></tr> -<tr><td class="tdr">P</td><td class="tdl">= Paris, Musée d’Artillerie.</td></tr> -<tr><td class="tdr">S</td><td class="tdl">= Stockholm, Lifrustkammer.</td></tr> -<tr><td class="tdr">T</td><td class="tdl">= Turin, Armeria Reale.</td></tr> -<tr><td class="tdr">V</td><td class="tdl">= Vienna, Waffensammlung.</td></tr> -<tr><td class="tdr">Ven</td><td class="tdl">= Venice, Museo civico and Arsenale.</td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p> - - -<div class="figcenter pg-brk"> -<img src="images/figxx_148.jpg" width="450" alt="" /> -<div class="caption"> - -<span class="smcap">Armourers’ Marks.</span></div> -</div> - -<p><span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span></p> - -<p class="noindent fs70"> - 1. XIV. <b>P</b>, H, 23.<br /> - 2. XV. <b>P</b>, H, 27.<br /> - 3. XV. <b>P</b>, H, 41.<br /> - 4. Germ., XV. <b>P</b>, G, I.<br /> - 5. XV. <b>P</b>, H, 36.<br /> - 6. Rotschmied, Germ. 1597. <b>G</b>.<br /> - 7. Conrad Seusenhofer, Germ. 1518. <b>L</b>, II, 5.<br /> - 8. Jörg Seusenhofer, Germ. 1558. <b>V</b>, 283, 407. <b>P</b>, G, 41, 117.<br /> - 9. Valentine Siebenbürger, Germ. 1531–47. <b>V</b>, 226.<br /> -10. Germ., XV. <b>P</b>, H, 11.<br /> -11. Germ., XV-XVI. <b>P</b>, H, 42.<br /> -12. It., XVI. <b>P</b>, H, 55, 305.<br /> -13. It., XVI. <b>P</b>, H, 54.<br /> -14. Germ., XVI. <b>P</b>, G, 23.<br /> -15. Adrian Treytz, Germ. 1469–1517. <b>V</b>, 66, 1018.<br /> -16. Veit, Germ., XV-XVI. <b>N</b>, <b>V</b>.<br /> -17. Wilhelm von Worms, Germ., XVI. <b>V</b>, 226, 296.<br /> -18. Merate brothers, It. 1495. <b>V</b>, 917.<br /> -19. Germ., XV-XVI. <b>P</b>, G, 18.<br /> -20. F. Siebenburger, Germ., XVI. <b>P</b>, G, 22, 568.<br /> -21. Germ., XVI-XVII. <b>P</b>, H, 166. <b>D</b>, E, 556 (see also 97).<br /> -22. City of Augsburg, XV-XVII <em>passim</em>.<br /> -23. Lorenz Colman or Helmschmied, 1516. <b>P</b>, G, 536; <b>V</b>, 1005.<br /> -24. Antonio da Missaglia, It. 1492 <em>passim</em> (see also 36).<br /> -25. Antonio da Missaglia.<br /> -26. Antonio da Missaglia.<br /> -27. Petrajolo and Tomaso da Missaglia. 1400–68. <b>V</b>, 2, 3, 897; <b>P</b>, H, 29 (see also No. 78).<br /> -28. Germ., XVI. <b>P</b>, H, 158.<br /> -29. Germ., XV-XVI. <b>P</b>, G, 382.<br /> -30. Sigismund Wolf, Germ. 1554. <b>P</b>, G, 63, 64, etc.; <b>M</b>, A, 231.<br /> -31. It. (?), XVI. <b>P</b>, G, 36.<br /> -32. Germ., XVI. <b>P</b>, G, 147, H, 97.<br /> -33. It., XV. <b>A</b> (possibly a Missaglia mark, see No. 24).<br /> -34. It., XV. <b>A</b>.<br /> -35. It., XV. <b>M</b>, D, 14.<br /> -36. Antonio da Missaglia, It., XV-XVI. <b>P</b>, H, 29.<br /> -37. XVI. <b>P</b>, G, 84.<br /> -38. Matthaias Fraüenpreis, Germ. 1549–75. <b>V</b>, 397, 950; <b>D</b>, G, 39.<br /> -39. Franz Grofsschedl, Germ. 1568. <b>V</b>, 989; <b>D</b>, C, 1, 2.<br /> -40. Coloman Colman or Helmschmied, Germ. 1470–1532. <b>V</b>, 175; <b>D</b>, G, 15; <b>M</b>, A, 19, 59, 73, etc.<br /> -41. Lorenz Colman or Helmschmied, Germ. 1516. <b>V</b>, 62 (see also No. 23).<br /> -42. Philipp Negroli, It. 1530–90 } <b>V</b>, 330; <b>M</b>, A,<br /> -43. Philipp and Jacomo Negroli ” } 139–46; <b>D</b>, 13, 30, 64.<br /> -44. Philipp and Jacomo Negroli (?). <b>P</b>, G, 7, 10, 178.<br /> -45. City of Nuremberg, XV-XVII <em>passim</em>.<br /> -46. Kunz or Conrad Lochner, Germ. 1567. <b>V</b>, 334; <b>P</b>, G, 182, etc.; <b>M</b>, A, 243; <b>S</b>, 64.<br /> -47. Heinrich Obresch, Germ. 1590.<br /> -48. Anton Peffenhauser, Germ. 1566–95. <b>V</b>, 489; <b>M</b>, A, 290.<br /> -49. Hans Ringter, Germ. 1560. <b>V</b>.<br /> -50. XVI-XVII. <b>P</b>, G, 124.<br /> -51. Possibly the Merate brothers, It. XV-XVI. <b>V</b>, 60; <b>L</b>, VI, 28; <b>M</b>, A, 3.<br /> -52. Germ., XVI. <b>V</b>, 9.<br /> -</p> - -<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p> - -<div class="figcenter"> -<img src="images/figyy_150.jpg" width="450" alt="" /> -<div class="caption"> - -<span class="smcap">Armourers’ Marks.</span></div> -</div> - -<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p> - -<p class="noindent fs70"> - 53. Possibly the Merate brothers, It., XV-XVI. <b>V</b>, 948.<br /> - 54. Possibly <ins class="corr" title="Transcriber's Note—Original text: 'Hans Guïnewalt'">Hans Grünewalt</ins>, Germ., XV-XVI. <b>V</b>, 66, 995.<br /> - 55. It., XV. <b>V</b>, 5.<br /> - 56. J. Voys, Netherland, XV-XVI. <b>B</b>, II, 39, 40; <b>M</b>, A, 11<br /> - 57. XV. <b>M</b>, A, 4.<br /> - 58. XV. <b>M</b>, A, 6.<br /> - 59. On a mail skirt, XV-XVI. <b>T</b>, G, 86.<br /> - 60. Peter von Speyer, Germ., 1560. <b>B</b>er.<br /> - 61. It., XV. <b>G</b>en.<br /> - 62. It., XV. <b>G</b>en.<br /> - 63. Germ., XV-XVI. <b>P</b>, H, 76.<br /> - 64. It., XV. <b>G</b>en.<br /> - 65. Germ., XVI. <b>V</b>, 63.<br /> - 66. It., XV-XVI. <b>V</b>en. Mus. civico.<br /> - 67. It., XVI. <b>V</b>en. Arsenale.<br /> - 68. On a sallad with Missaglia mark, It., XV. <b>V</b>en. Mus. civico.<br /> - 69. Germ., XVI. <b>B</b>, II, 101.<br /> - 70. Germ., XV-XVI. <b>V</b>, 1022.<br /> - 71. Armourers’ Company, London, XVII. <b>L</b>.<br /> - 72. Germ., XV. <b>D</b>, A, 75.<br /> - 73. Netherlands, XV. <b>D</b>, A, 75.<br /> - 74. Siebenburger (?), Germ., XVI. <b>B</b>, II, 92.<br /> - 75. It., XVI. <b>M</b>, A, 147.<br /> - 76. Jorg Sigman, Germ., XVI. <b>M</b>, A, 238.<br /> - 77. It, XV. <b>A</b>.<br /> - 78. T. and P. da Missaglia, It., 1400–1468. <b>P</b>, H, 29; <b>V</b>, -2, 3; <b>L</b>, II, 29 (see Nos. 24–7).<br /> - 79. Sigmund Rosenburger, Germ. XVI. <b>D</b>, C, 3, 4.<br /> - 80. City of Augsburg (?), XVI. <b>D</b>.<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a><br /> - 81. City of Augsburg (?), XVI. <em>passim</em>.<br /> - 82. Germ., XVI. <b>D</b>.<br /> - 83. M. Petit. Fr. XVII. <b>P</b>, H, 150; <b>V</b>, 711; <b>M</b>, A, 379.<br /> - 84. Sp., XV. <b>M</b>, D, 24.<br /> - 85. It., XV. <b>A</b>.<br /> - 86. It., XV. <b>A</b>.<br /> - 87. XVII. <b>M</b>, B, 11; <b>T</b>, C, 14.<br /> - 88. XV. <b>P</b>, H, 141.<br /> - 89. Germ., XV-XVI. <b>L</b>, II, 37.<br /> - 90. XVI. <b>L</b>, III, 186.<br /> - 91. Germ., XVI. <b>L</b>, II, 3.<br /> - 92. Sp., XV. <b>M</b>, C, 10.<br /> - 93. Sp., XV. <b>M</b>, C, 10.<br /> - 94. It., XV. <b>A</b>.<br /> - 95. XV. <b>M</b>, D, 18.<br /> - 96. Germ., XV. <b>B</b>, II, 170.<br /> - 97. Germ., XVI. <b>B</b>, II, 182; <b>D</b>, E, 556 (see also No. 21); -<b>S</b>, on a crossbow, 143.<br /> - 98. Germ., XVI. <b>B</b>, II, 30.<br /> - 99. Germ., XVI. <b>B</b>, II, 3.<br /> -100. Possibly the city of Wittenburg, XVI. <b>B</b>, II, 4, 41.<br /> -101. Sp., XV. <b>M</b>, C, 10.<br /> -102. Sp., XV. <b>M</b>, C, 10.<br /> -103. It., XV. <b>A</b>.<br /> -104. Germ. XV. <b>V</b>.<br /> -</p> - - -<div class="footnotes"><h3>FOOTNOTE:</h3> - -<div class="footnote"> - -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> A similar mark was used by the Armourers’ Company, London, about 1640.</p></div> -</div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span><br /> - <span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk"><a name="POLYGLOT_GLOSSARY" id="POLYGLOT_GLOSSARY"></a><a href="#CONTENTS">POLYGLOT GLOSSARY OF WORDS DEALING WITH -ARMOUR AND WEAPONS</a></h2> - - -<p>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:—</p> - -<p class="noindent fs80 pad6 wsp"> -Boeheim. <cite>Waffenkunde.</cite> 1890.<br /> -Cotgrave. <cite>Dictionarie of the French and English Tongues.</cite> 1611. <b>C.</b><br /> -Du Cange. <cite>Glossaire Français.</cite> Edit. 1879.<br /> -Florio. <cite>A Worlde of Woordes.</cite> 1598. <b>F.</b><br /> -Gay. <cite>Glossaire Archéologique</cite>, A-G (never completed). 1887. <b>G.</b><br /> -Harford. <cite>English Military Discipline.</cite> 1680. <b>H.</b><br /> -Meyrick. <cite>Antient Armour</cite> (glossary). 1842.<br /> -Roquefort. <cite>Glossaire de la Langue Romaine.</cite> 1808. <b>R.</b><br /> -Valencia. <cite>Catalogue of Real Armeria, Madrid.</cite><br /> -</p> - -<p>Where no reference letter is given the meaning given is that generally accepted -at the present day.</p> - -<p>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. <a href="#Page_110">110, 111</a>.</p> - - -<div class="glossary"> - -<div class="pad10">A</div> - -<p><em>Abzug</em>, Germ. the trigger of a gun.</p> - -<p><em>Achsel</em>, Germ. see <a href="#PAU">pauldron</a>.</p> - -<p><em>Achselhohlscheibe</em>, Germ. see <a href="#RON">rondel</a>.</p> - -<p><em>Achselschilde</em>, Germ. see <a href="#AIL">ailette</a>.</p> - -<p><em>Acroc</em>, a hook or clasp.</p> - -<p><em>Adargue</em>, a heart-shaped buckler, <b>G</b>.</p> - -<p><em>Affust</em>, } gun-carriage.</p> -<p><em>Afut</em>, }</p> - -<a name="AGA" id="AGA"></a> -<p><em>Agaric</em>, tinder used with flint-lock gun.</p> - -<p><em>Agier</em>, O.F. darts.</p> - -<p><em>Aguinia</em>, machines or engines of war.</p> - -<p><em>Aguzo</em>, It. the point of the spear.</p> - -<p><em>Aiguilettes</em>, tags at the ends of laces for fastening the -various pieces of armour.</p> - -<a name="AIL" id="AIL"></a> -<p><em>Ailettes</em>, wing-like pieces of plate or cuir-bouilly worn on -the shoulders. Very rare and seldom seen on monuments. XIII-XIV cent.</p> - -<p><em>Aketon</em>, see <a href="#GAM">gambeson</a>.</p> - -<p><em>Alabarda</em>, It. <a href="#HAL">halberd</a>.</p> - -<p><em>Alaguès</em>, <em>Halaguès</em>, O.F. soldiers of fortune, free-lances, <b>R</b>.</p> - -<p><em>Alarica</em>, a heavy triangular-pointed spear.</p> - -<p><em>Alberc</em>, Germ. see <a href="#HAU">hauberk</a>.</p> - -<p><em>Alberia</em>, a shield without armorial bearings.</p> - -<a name="ALB" id="ALB"></a> -<p><em>Alborium</em>, a bow of hazel, XI cent.</p> - -<p><em>Alemèle</em>, Fr. the lame or blade of the sword.</p> - -<p><em>Alemella</em>, It. a knife or dagger, XIV cent.</p> - -<p><em>Alfange</em>, Sp. cutlass.</p> - -<p><em>Alferanna</em>, Sp. a banner.</p> - -<p><em>Algier</em>, O.F. dart.</p> - -<a name="ALA" id="ALA"></a> -<p><em>Allecret</em>, a variety of half-armour, end of XVI cent.</p> - -<p><em>Almarada</em>, Sp. a stiletto or dagger.</p> - -<p><em>Almayne rivet</em>, suit of light half-armour, XVI cent.</p> - -<p><em>Almete</em>, Sp. a close, round helmet, armet.</p> - -<p><em>Alzo</em>, It. the “sight” of the firearm.</p> - -<p><em>Amadue</em>, Fr. see <a href="#AGA">agaric</a>.</p> - -<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span><p><em>Ameure</em>, a dagger.</p> - -<p><em>Amorce</em>, priming.</p> - -<p><em>Amorcoir</em>, Fr. powder-flask.</p> - -<p><em>Amussette</em>, Fr. a breech-loading musket, XVIII cent.</p> - -<a name="ANE" id="ANE"></a> -<p><em>Anelace</em>, a broad-bladed dagger, early XIV cent.</p> - -<p><em>Angon</em>, 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, <b>G</b>.</p> - -<p><em>Animes</em>, a cuirass of horizontal lames, <b>R</b>.</p> - -<p><em>Antebrachia</em>, see <a href="#VAM">vambrace</a>.</p> - -<p><em>Antela</em>, see <a href="#POI">poitrel</a>.</p> - -<p><em>Antia</em>, the handle of a buckler.</p> - -<p><em>Anzerdecke</em>, Germ. see <a href="#BAR">barde</a>.</p> - -<p><em>Appogiar</em>, the cantle of the saddle.</p> - -<a name="ARB" id="ARB"></a> -<p><em>Arbalest</em>, a crossbow.</p> - -<p><em>Arbalest à cric</em>, a heavy crossbow used in sieges.</p> - -<p><em>Arbalest à cranequin</em>, a crossbow drawn with a windlass.</p> - -<p><em>Arbrier</em>, the tiller of a crossbow.</p> - -<p><em>Arcabuz</em>, Sp. see <a href="#ARQ">arquebus</a>.</p> - -<p><em>Archet de fer</em>, the moulded ring on the breech of a cannon, base-ring.</p> - -<p><em>Archegaye</em>, a staff sharpened at both ends carried by estradiots, XV cent.</p> - -<p><em>Archibuso</em>, It. see <a href="#ARQ">arquebus</a>.</p> - -<p><em>Arcioni</em>, It. the fore and aft peaks of the saddle.</p> - -<p><em>Arcon</em>, the saddle-bow.</p> - -<p><em>Arescuel</em>, the grip of a lance, <b>R</b>.</p> - -<p><em>Arest de lance</em>, vamplate, later the lance-rest, <b>G</b>.</p> - -<p><em>Arganello</em>, It. the windlass of a crossbow.</p> - -<p><em>Argolets</em>, French mounted arquebussiers, XVI-XVII cent., <b>R</b>.</p> - -<a name="ARM" id="ARM"></a> -<p><em>Arma bianca</em>, It. } sword.</p> -<p><em>Arme blanche</em>, Fr. }</p> - -<p><em>Armacudium</em>, an indefinite weapon of offence.</p> - -<p><em>Arma d’asta</em>, It. any long-shafted weapon.</p> - -<p><em>Armatoste</em>, Sp. the windlass of a crossbow.</p> - -<p><em>Armes à l’épreuve</em>, pistol-proof armour.</p> - -<a name="AMT" id="AMT"></a> -<p><em>Armet</em>, a close helmet with <a href="#BEV">bevor</a> and movable <a href="#VIS">visor</a>.</p> - -<p><em>Armil</em>, see <a href="#SUR">surcoat</a>.</p> - -<p><em>Armin</em>, an ornamental hand-grip for the <a href="#PIK">pike</a> made of velvet or leather.</p> - -<p><em>Arming-bonett</em>, a padded cap worn under the helmet.</p> - -<p><em>Arming-doublet</em>, worn under the armour.</p> - -<p><em>Arming-hose</em>, long hose worn under leg-armour.</p> - -<p><em>Arming-points</em>, laces for tying on parts of the suit of armour.</p> - -<p><em>Arming-sword</em>, a short sword worn on the right side.</p> - -<p><em>Armkachen</em>, Germ. <a href="#ELB">elbow-cops</a>.</p> - -<p><em>Armoyer</em>, O.F. armourer, maker of sword-hilts, <b>R</b>.</p> - -<p><em>Armröhen</em>, Germ. cannon of the <a href="#VAM">vambrace</a>.</p> - -<p><em>Armrust</em>, Germ. crossbow.</p> - -<p><em>Armure cannelée</em>, Fr. fluted armour.</p> - -<p><em>Armzeug</em>, Germ. <a href="#BRA">brassard</a>.</p> - -<p><em>Arnesi</em>, It. harness as used for “armour.”</p> - -<a name="ARQ" id="ARQ"></a> -<p><em>Arquebus</em>, a musket of XVI cent.</p> - -<p><em>Arrêt</em>, Fr. small decorated tabs used on straps for armour and -horse-furniture, <b>G</b>.</p> - -<p><em>Arrêt de lance</em>, Fr. lance-rest.</p> - -<p><em>Arrière-bras</em>, Fr. see <a href="#RER">rerebrace</a>.</p> - -<p><em>Arrière-hilt</em>, the counter-guard or knuckle-bow of the sword.</p> - -<p><em>Asbergo</em>, a breastplate or cuirass, a <a href="#VMP">vamplate</a>, <b>F</b>.</p> - -<p><em>Asper</em>, <em>aspar</em>, the “grip” of the lance.</p> - -<p><em>Aspergès</em>, O.F. a mace, <b>R</b>; see <a href="#HOL">holy-water sprinkle</a>.</p> - -<p><em>Astile</em>, It. the shaft of a lance.</p> - -<p><em>Astonne</em>, a lance, <b>R</b>.</p> - -<p><em>Astregal</em>, a moulding on a cannon.</p> - -<p><em>Atilt</em>, the position in which the lance was held in charging.</p> - -<p><em>Attry</em>, O.E. artillery.</p> - -<p><em>Auber</em>, see <a href="#ALB">alborium</a>.</p> - -<p><em>Ausfatz</em>, Germ. the “sight” of a firearm.</p> - -<p><em>Avance</em>, Fr. the front peak of the <a href="#BUR">burgonet</a>.</p> - -<p><em>Avant-bras</em>, see <a href="#VAM">vambrace</a>.</p> - -<p><em>Avant plat</em>, see <a href="#VMP">vamplate</a>.</p> - -<p><em>Aventail</em>, breathing aperture in helmet, the earliest form of <a href="#VIS">visor</a>.</p> - -<p><em>Azza</em>, It. a long-shafted axe.</p> - -<p><em>Azzimino</em>, It. fine inlay work on Oriental weapons, <b>F</b>.</p> - - -<div class="p2 pad10">B</div> - -<p><em>Bacchetta</em>, It. a ramrod.</p> - -<p><em>Back-sword</em>, sword with single-edged blade.</p> - -<p><em>Bacul</em>, O.F. crupper of horse-trappings, <b>R</b>.</p> - -<p><em>Bacyn</em>, see <a href="#BAS">bascinet</a>.</p> - -<p><em>Badelaire</em>, Fr. a short cutlass.</p> - -<p><em>Bagonet</em>, } a dagger fitted to the musket, <em>circ.</em> 1672.</p> -<p><em>Bayonet</em>, }</p> - -<p><em>Bagordare</em>, O.It. to hold a burlesque tournament.</p> - -<p><em>Baguette</em>, ramrod, also <a href="#BRY">brayette</a>, q.v.</p> - -<p><em>Bainbergs</em>, shin-defences of metal or <a href="#CUB">cuir-bouilly</a>.</p> - -<a name="BAL" id="BAL"></a> -<p><em>Baldrick</em>, } an ornamented belt to carry the sword, XIV cent.</p> -<p><em>Bawdric</em>, }</p> - -<p><em>Balestra</em>, It. see <a href="#ARB">arbalest</a>.</p> - -<a name="BKN" id="BKN"></a> -<p><em>Balloch knife</em>, a knife or dagger with balls instead of <a href="#QUI">quillons</a>, XV-XVI cent.</p> - -<p><em>Balayn</em>, } whalebone used for crests or the swords for tourneys.</p> -<p><em>Balon</em>, }</p> - -<p><em>Balottera</em>, a stone bow, <b>F</b>.<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span></p> - -<a name="BAM" id="BAM"></a> -<p><em>Banded mail</em>, mail formed of rings through which a leathern thong -was passed horizontally on the <a href="#HAU">hauberk</a>.</p> - -<p><em>Bandes</em>, Fr. see <a href="#LAM">lames</a>.</p> - -<p><em>Bandes de bout d’affust</em>, trail-plate of a cannon, <b>H</b>.</p> - -<p><em>Bandes de dessus</em>, axle-tree bands, cape squares, <b>H</b>.</p> - -<a name="BAN" id="BAN"></a> -<p><em>Bandolier</em>, musketeer’s belt to carry gun-charges in separate cases -of wood or metal.</p> - -<p><em>Bannerets</em>, those knighted on the field of battle and entitled to carry banners.</p> - -<p><em>Banquelets</em>, Fr. strips of decorated metal on a sword-belt to keep -the belt rigid, <b>G</b>.</p> - -<p><em>Barbazzale</em>, It. the “grummet” of a bridle.</p> - -<p><em>Barbera</em>, Sp. see <a href="#MEN">mentonière</a>.</p> - -<p><em>Barbière</em>, Fr. }</p> -<p><em>Barbote</em>, Sp. } see <a href="#BEV">bevor</a>.</p> -<p><em>Barbotto</em>, It. }</p> - -<p><em>Barbuta</em>, a piece of head-armour, a <a href="#BEV">bevor</a>, <b>F</b>.</p> - -<p><em>Barbute</em>, } a form of <a href="#BAS">bascinet</a> of unknown type, also a light horseman.</p> -<p><em>Barbet</em>, }</p> - -<p><em>Bardes</em>, } horse-armour.</p> -<p><em>Barding</em>, }</p> - -<a name="BAR" id="BAR"></a> -<p><em>Barde de crinière</em>, Fr. see <a href="#CRI">crinet</a>.</p> - -<p><em>Bardiche</em>, a variety of <a href="#POA">pole-axe</a>.</p> - -<p><em>Barducium</em>, see <a href="#MOR">morning star</a>.</p> - -<p><em>Barthaube</em>, Germ. chin-guard of plate.</p> - -<p><em>Barriers</em>, the division of wood which separated combatants -in foot-jousts, also the jousts themselves.</p> - -<a name="BAS" id="BAS"></a> -<p><em>Bascinet</em>, a light helmet of ovoid form tapering to a point at -the summit, worn with or without a visor, XIII-XV cent.</p> - -<p><em>Bascuette</em>, O.E. see <a href="#BAS">bascinet</a>.</p> - -<p><em>Base</em>, O.F. a short sword or cutlass, <b>R</b>.</p> - -<a name="BSS" id="BSS"></a> -<p><em>Bases</em>, skirts of fabric or, in armour, of plate, XVI cent.</p> - -<p><em>Basilard</em>, a curved civilian sword, XIV cent.</p> - -<p><em>Bask sword</em>, a stout, single-edged blade.</p> - -<p><em>Bassinet</em>, Fr. priming-pan of a firelock.</p> - -<a name="BSW" id="BSW"></a> -<p><em>Bastard sword</em>, a long sword for cut and thrust with grip -sufficiently long for two hands, or a blunted sword for practice.</p> - -<p><em>Baston</em>, a mace or club with polygonally cut head.</p> - -<p><em>Baston, gros</em>, O.F. large ordnance, <b>R</b>.</p> - -<p><em>Battecul</em>, see <a href="#GAR">garde-rein</a>.</p> - -<p><em>Batticuli</em>, <a href="#TAC">taces</a> or loin-guards of plate, <b>F</b>.</p> - -<p><em>Bauchreifen</em>, Germ. see <a href="#TAC">taces</a>.</p> - -<p><em>Baudik</em>, see <a href="#BAL">baldrick</a>.</p> - -<p><em>Baudrier</em>, Fr. cross-belt.</p> - -<p><em>Bavier</em>, Fr. } see <a href="#BEV">bevor</a>.</p> -<p><em>Baviera</em>, It. }</p> - -<p><em>Bergaman</em>, O.F. a cutlass or dagger from Bergamo, <b>R</b>.</p> - -<a name="BEP" id="BEP"></a> -<p><em>Bear-paw</em>, } a form of <a href="#SOL">solleret</a> with obtuse point.</p> -<p><em>Bec du cane</em>, }</p> - -<p><em>Becco di corvo</em>, It. see <a href="#MAR">martel de fer</a>.</p> - -<p><em>Bec de faucon</em>, Fr. a war-hammer.</p> - -<p><em>Beckenhaube</em>, Germ. see <a href="#BAS">bascinet</a>.</p> - -<p><em>Beinröhren</em>, Germ. see <a href="#JAM">jambe</a>.</p> - -<p><em>Beintaschen</em>, Germ. see <a href="#TAS">tassets</a>.</p> - -<p><em>Beinzeug</em>, Germ. see <a href="#CUI">cuissard</a>.</p> - -<p><em>Beringt</em>, Germ. <a href="#RIM">ringed mail</a>.</p> - -<p><em>Beruier</em>, Fr. a light head-piece with ear-flaps and chin-strap, -XV cent., <b>G</b>.</p> - -<p><em>Besagues</em>, O.E. small plates to protect the armpits, any small -plates of metal.</p> - -<p><em>Bessa</em>, a pickaxe used by pioneers, XV cent.</p> - -<a name="BEV" id="BEV"></a> -<p><em>Beavor</em>, } chin-piece of an <a href="#AMT">armet</a> or a <a href="#SAL">sallad</a>.</p> -<p><em>Bevor</em>, }</p> - -<p><em>Bicoquet</em>, Fr. a species of <a href="#BAS">bascinet</a> with neck and chin piece, -XV cent., <b>G</b>.</p> - -<p><em>Bicorn</em>, } small anvil.</p> -<p><em>Bickiron</em>, }</p> - -<p><em>Bigateno</em>, O.F. a javelin or dart, <b>R</b>.</p> - -<p><em>Bilbo</em>, a small rapier.</p> - -<p><em>Bill</em>, a weapon with scythe-like blade and six-foot shaft.</p> - -<p><em>Billette</em>, F., see <a href="#TOG">toggle</a>.</p> - -<p><em>Biro</em>, O.F., a dart, javelin, or arrow, <b>R</b>.</p> - -<p><em>Bisacuta</em>, <span class="pad2">}</span> the military pick or two-edged axe, XIII-XIV cent.</p> -<p><em>Bisague</em>, O.F., }</p> - -<p><em>Bishop’s mantle</em>, a cape of mail.</p> - -<p><em>Blacon</em>, O.F., a buckler or shield, <b>R</b>.</p> - -<p><em>Blanc haubert</em>, Fr., coat of mail.</p> - -<p><em>Blanchon</em>, O.F., a kind of <a href="#PIK">pike</a>, <b>R</b>.</p> - -<p><em>Blank wafte</em>, Germ. see <a href="#ARM">arme blanche</a>.</p> - -<p><em>Boetes</em>, boxes, <b>H</b>.</p> - -<p><em>Bohordicum</em>, a burlesque joust in which sham lances (bohours) were used.</p> - -<p><em>Bombarde</em>, an early form of ordnance resembling a mortar.</p> - -<p><em>Bonbicinium</em>, see <a href="#BAS">bascinet</a>.</p> - -<a name="BOR" id="BOR"></a> -<p><em>Bordon</em>, <span class="pad2">}</span></p> -<p><em>Bordonasse</em>, } a lance used for jousting.</p> -<p><em>Borto</em>, <span class="pad3">}</span></p> - -<p><em>Boson</em>, an arrow with a blunt point.</p> - -<a name="BOS" id="BOS"></a> -<p><em>Bossoirs</em>, the bosses on the <a href="#PEY">peytral</a> of a horse.</p> - -<p><em>Botafogo</em>, Sp. see <a href="#LIN">linstock</a>.</p> - -<p><em>Botta a</em>, It. } armour proof against sword, axe, or lance blow.</p> -<p><em>Botte à</em>, Fr. }</p> - -<p><em>Botte cassée</em>, Fr., armour proof against all weapons, “high proof.”</p> - -<p><em>Botton</em>, a button or buckle for fastening the <a href="#GOR">gorget</a> to the breast-piece.<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p> - -<p><em>Bouche</em>, the hole cut in the corner of the shield through which -to point the lance; also the circular hole in the <a href="#VMP">vamplate</a>.</p> - -<p><em>Boucles</em>, Fr. see <a href="#GEN">genouillière</a>.</p> - -<p><em>Boudrier</em>, Fr. see <a href="#BAN">bandolier</a>.</p> - -<p><em>Bougeran</em>, } buckram used for tournament armour.</p> -<p><em>Bougran</em>, }</p> - -<p><em>Bougon</em>, } blunt-headed arrow for shooting game.</p> -<p><em>Boujon</em>, }</p> - -<p><em>Bougeon</em>, }</p> -<p><em>Boujon</em>, } a crossbow <a href="#QUA">quarrel</a>, <b>R</b>.</p> -<p><em>Boulon</em>, }</p> - -<p><em>Bourdonasse</em>, Fr. see <a href="#BOR">bordon</a>.</p> - -<p><em>Bourlet</em>, Fr. a <a href="#COI">coif</a>.</p> - -<p><em>Bourlet</em>, Fr. the swell of the muzzle of a cannon.</p> - -<p><em>Bourlette</em>, Fr. a mace.</p> - -<p><em>Bourrelet, à</em>, Fr. a method of attaching two plates together -sliding in burrs or slots.</p> - -<p><em>Boutefeu</em>, Fr. <a href="#LIN">linstock</a>.</p> - -<p><em>Bouterolle</em>, Fr. the <a href="#CHP">chape</a> of a sword.</p> - -<p><em>Boutreaux</em>, Fr. the pendent strips of leather or fabric which -decorated the horse-trappings of the XV-XVI cent., <b>G</b>.</p> - -<p><em>Bracciale</em>, It. <a href="#BRA">brassard</a>.</p> - -<p><em>Bracciaiuola</em>, It. a small shield with arm-guard and -“sword-breaker” in one piece.</p> - -<p><em>Bracciali</em>, It. see <a href="#BRA">brassard</a>.</p> - -<p><em>Bracconnière</em>, Fr. see <a href="#TAC">taces</a>.</p> - -<p><em>Bracelet</em>, Fr. the ring of metal which joined the <a href="#VAM">vambrace</a> to -the <a href="#RER">rerebrace</a>, the <a href="#ELB">elbow-cop</a>, <b>C</b>.</p> - -<a name="BRC" id="BRC"></a> -<p><em>Bracer</em>, a leathern wrist-guard used by archers of the long-bow.</p> - -<p><em>Bracheta</em>, O.It. } see <a href="#BRY">brayette</a>.</p> -<p><em>Braghetta</em>, <span class="pad2">}</span></p> - -<p><em>Brandistocco</em>, It. a three-pronged spear, a swine-feather.</p> - -<p><em>Braquemart</em>, a short, broad-bladed cutting sword.</p> - -<p><em>Brasalot</em>, O.F. see <a href="#ELB">elbow-cop</a>.</p> - -<a name="BRA" id="BRA"></a> -<p><em>Brassard</em>, the whole arm-defence, including <a href="#VAM">vambrace</a>, <a href="#ELB">elbow-cop</a>, -and <a href="#RER">rerebrace</a>.</p> - -<p><em>Brasselet</em>, see <a href="#BRC">bracer</a>.</p> - -<p><em>Bratspiess</em>, Germ. see <a href="#RAN">ranseur</a>.</p> - -<a name="BRY" id="BRY"></a> -<p><em>Brayette</em>, O.F. for <a href="#COD">codpiece</a>.</p> - -<p><em>Brazale</em>, Sp. <a href="#BRA">brassard</a>.</p> - -<p><em>Brechenmesser</em>, Germ. see <a href="#FAL">falcione</a>.</p> - -<p><em>Brechränder</em>, Germ, neck-guards on the <a href="#PAU">pauldrons</a>.</p> - -<a name="BRE" id="BRE"></a> -<p><em>Bretelles</em>, Fr. straps for joining breast and back pieces.</p> - -<p><em>Briccola</em>, O.It. a tiller or crossbow to shoot stones or arrows, <b>F</b>.</p> - -<p><em>Brichette</em>, armour for loins and hips.</p> - -<p><em>Brichette</em>, } breast-armour, XV cent.</p> -<p><em>Brikette</em>, }</p> - -<a name="BRI" id="BRI"></a> -<p><em>Brigandine</em>, a body-defence of small plates riveted to a cover -and lining of fabric.</p> - -<p><em>Briquet</em>, Fr. a sword of cutlass form, early XIX cent.</p> - -<p><em>Brise-cuirass</em>, Fr. a short, strong dagger.</p> - -<p><em>Brise-épée</em>, Fr. see <a href="#SWO">sword-breaker</a>.</p> - -<p><em>Brochiero</em>, It. a small buckler used for sword and buckler fights.</p> - -<p><em>Broigne</em>, a shirt of mail.</p> - -<p><em>Broke</em>, O.F. a kind of dagger, <b>R</b>.</p> - -<p><em>Broquel</em>, Sp. see <a href="#ROD">rondache</a>.</p> - -<p><em>Brújula</em>, Sp. see <a href="#VIS">visor</a>.</p> - -<p><em>Brunt</em>, O.E. the front or <a href="#PEY">peytral</a> of a horse-trapper.</p> - -<p><em>Brustpanzer</em>, Germ. see <a href="#PEY">peytral</a>.</p> - -<p><em>Brustschild mit schönbart</em>, Germ, tilting-breastplate with <a href="#MEN">mentonière</a>.</p> - -<p><em>Bruststück</em>, Germ. breastplate.</p> - -<p><em>Brygandyrons</em>, see <a href="#BRI">brigandine</a>.</p> - -<p><em>Budrière</em>, It. cross-belt for a sword.</p> - -<p><em>Bufe</em>, a movable <a href="#BEV">bevor</a> used with an open casqe.</p> - -<p><em>Bufeta</em>, Sp. neck-guards on a <a href="#PAU">pauldron</a>.</p> - -<p><em>Buffa</em>, the buffe or face-plate of a <a href="#BUR">burgonet</a>.</p> - -<p><em>Bufle</em>, a coat of buff leather.</p> - -<p><em>Buffetin</em>, Fr. see <a href="#COL">colletto</a>.</p> - -<p><em>Burdo</em>, see <a href="#BOR">borto</a>.</p> - -<p><em>Bukel</em>, Germ. see <a href="#ROD">rondache</a>.</p> - -<p><em>Burghera</em>, a <a href="#GOR">gorget</a>, <b>F</b>.</p> - -<a name="BUR" id="BUR"></a> -<p><em>Burgonet</em>, a light, open helmet, generally found with ear-flaps -and sometimes a face-guard, XVI-XVII cent.</p> - -<p><em>Burr</em>, the iron ring on the lance below the “grip” to prevent the -hand slipping back.</p> - -<p><em>Buttafuoco</em>, It. see <a href="#LIN">linstock</a>.</p> - -<p><em>Buttière</em>, Fr. a type of <a href="#ARQ">arquebus</a>.</p> - -<p><em>Buzo</em>, It. see <a href="#QUA">quarrel</a>.</p> - - -<div class="p2 pad10">C</div> - -<p><em>Cabasset</em>, a helmet with narrow brim all round, XVI cent.</p> - -<p><em>Cairelli</em>, O.It. see <a href="#QUA">quarrel</a>.</p> - -<p><em>Caissia</em>, It. a case or quiver for arrows.</p> - -<p><em>Calce</em>, the <a href="#VMP">vamplate</a> of a lance, also the butt end, also stockings, <b>F</b>.</p> - -<a name="CAV" id="CAV"></a> -<p><em>Caliver</em>, a short firelock.</p> - -<p><em>Calote</em>, a skull-cap worn under the hat by cavalry, XVII cent.</p> - -<a name="CAL" id="CAL"></a> -<p><em>Caltrop</em>, a ball with four spikes placed on the ground to receive cavalry.</p> - -<p><em>Calva</em>, Sp. skull or bowl of a helmet.</p> - -<p><em>Camaglio</em>, It. see <a href="#CAM">camail</a>.<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span></p> - -<a name="CAM" id="CAM"></a> -<p><em>Camail</em>, a hood or tippet of chain mail, XIV-XV cent.</p> - -<p><em>Camba</em>, O.It. see <a href="#JAM">jambs</a>.</p> - -<p><em>Camberia</em>, see <a href="#JMB">jambières</a>.</p> - -<p><em>Camisado</em>, It. the wearing of white shorts over armour for night attacks.</p> - -<p><em>Campane</em>, { O.F. the part of the horse-trappings on the</p> -<p><em>Campanelle</em>, { haunches, decorated with large bells, XV-XVI cent.</p> - -<p><em>Cambrasia</em>, O.It. a dart or arrow, <b>F</b>.</p> - -<p><em>Cannon</em>, the tubular <a href="#VAM">vambrace</a>.</p> - -<p><em>Cantle</em>, the rear peak of the saddle.</p> - -<p><em>Capel de nerfs</em>, a whalebone or leather helmet, XIV cent.</p> - -<p><em>Capelina</em>, It. a skull-cap of steel.</p> - -<p><em>Capellum</em>, the sword sheath or scabbard.</p> - -<p><em>Caperuza</em>, Sp. see <a href="#CHA">chapel-de-fer</a>.</p> - -<p><em>Carcasse</em>, Fr. a bomb.</p> - -<p><em>Carcasse</em>, It. a quiver.</p> - -<p><em>Cardelli</em>, It. see <a href="#QUA">quarrel</a>.</p> - -<p><em>Cargan</em>, a collar or <a href="#GOR">gorget</a> of mail.</p> - -<p><em>Carnet</em>, the <a href="#VIS">visor</a>.</p> - -<p><em>Carousella</em>, } a mimic fight with clay balls and shields.</p> -<p><em>Carousel</em>, }</p> - -<p><em>Carquois</em>, Fr. a quiver.</p> - -<p><em>Carreau</em>, Fr. see <a href="#QUA">quarrel</a>.</p> - -<p><em>Cartouche</em>, Fr., a charge of powder and shot wrapped up in paper; a cartridge.</p> - -<a name="CAS" id="CAS"></a> -<p><em>Casque</em>, open helmet, often of classical design, late XVI cent.</p> - -<p><em>Casquetel</em>, an open head-piece with brim and back peak reaching far -down the neck, XVII cent.</p> - -<p><em>Cassa</em>, It. the stock of a firearm.</p> - -<p><em>Castle</em>, O.E. a variety of helmet.</p> - -<p><em>Cataffratto</em>, <span class="pad4">}</span> a mail-clad horse.</p> -<p><em>Cataphractus eques</em>, }</p> - -<p><em>Cataye</em>, O.F. a javelin or a catapult, <b>R</b>.</p> - -<p><em>Catchpole</em>, a long-handled spring fork used to catch the opposing -knight round the neck and unhorse him.</p> - -<p><em>Catocio</em>, the charge of powder for musket or cannon, <b>F</b>.</p> - -<p><em>Caxeo</em>, } Sp. see <a href="#CAS">casque</a>.</p> -<p><em>Caxa</em>, }</p> - -<p><em>Cazoleta</em>, Sp. the “pan” of the <a href="#ARQ">arquebus</a>.</p> - -<p><em>Celada de engole</em>, Sp. a helm worn for foot-jousts with -axe, sword, or spear.</p> - -<p><em>Celata</em>, It. see <a href="#SAL">sallad</a>.</p> - -<p><em>Celata da incastro</em>, It. see <a href="#AMT">armet</a>.</p> - -<p><em>Celata Veneziana</em>, It. a Venetian form of <a href="#SAL">sallad</a> with a nose-piece, XV cent.</p> - -<p><em>Cerbatane</em>, some kind of ordnance, <b>G</b>.</p> - -<p><em>Cerveliera</em>, It. a metal skull-cap, a <a href="#SEC">secrete</a>.</p> - -<p><em>Cervicale</em>, Fr. see <a href="#CRI">crinet</a>, <b>G</b>.</p> - -<a name="CES" id="CES"></a> -<p><em>Cesello</em>, It. repoussé-work used in the decoration of armour.</p> - -<a name="CHM" id="CHM"></a> -<p><em>Chamfron</em>, }</p> -<p><em>Chanfrein</em>, } defence of plate for the horse’s head.</p> -<p><em>Chanfron</em>, }</p> - -<p><em>Champ-clos</em>, O.F. see <a href="#LIS">lists</a>.</p> - -<a name="CHP" id="CHP"></a> -<p><em>Chape</em>, the metal tip at the lower end of a sword or dagger sheath.</p> - -<p><em>Chapel d’acier</em>, Fr. a steel war-hat.</p> - -<a name="CHA" id="CHA"></a> -<p><em>Chapel-de-fer</em>, Fr. a broad-brimmed helmet used from XII to XVI cent.</p> - -<p><em>Chapel de Montauban</em>, Fr. a steel war-hat made at Montauban, XIV cent.</p> - -<p><em>Chapewe</em>, see <a href="#CHA">chapel-de-fer</a>.</p> - -<p><em>Chapras</em>, the brass badge worn by a messenger.</p> - -<p><em>Chard</em>, the string of a sling.</p> - -<p><em>Charnel</em>, O.E. the bolt that fixed the tilting-helm to the breastplate.</p> - -<p><em>Chausses</em>, covering for the lower leg and foot of chain mail.</p> - -<a name="CHS" id="CHS"></a> -<p><em>Chaussons</em>, trews or breeches of chain mail.</p> - -<p><em>Cheeks</em>, the strips of iron that fix the pike-head to the shaft.</p> - -<p><em>Cheminée</em>, Fr. the nipple of a gun.</p> - -<p><em>Cherval</em>, a <a href="#GOR">gorget</a>.</p> - -<p><em>Chastones</em>, rivets.</p> - -<p><em>Chianetta</em>, a helmet, <b>F</b>.</p> - -<p><em>Chiave da mota</em>, It. key for a wheel-lock.</p> - -<p><em>Chien</em>, Fr., cock of a firelock.</p> - -<p><em>Chiodo da voltare</em>, It. a turning-rivet.</p> - -<p><em>Choque</em>, some kind of firearm, variety unknown.</p> - -<p><em>Cimier</em>, the crest on the helm.</p> - -<a name="CIN" id="CIN"></a> -<p><em>Cinquedea</em>, It. a short, broad-bladed dagger for ceremonial use, -made in Venice and Verona, five fingers (<em>cinque ditta</em>) wide at -the base.</p> - -<p><em>Ciseau</em>, a blunt-headed <a href="#QUA">quarrel</a> for the crossbow, <b>G</b>.</p> - -<p><em>Clavel</em>, O.F., a lace for fastening the coif of mail or the <a href="#HAU">hauberk</a>, <b>G.</b></p> - -<p><em>Clavones</em>, rivets.</p> - -<p><em>Claid heamh</em>, a sword, Gaelic.</p> - -<p><em>Claid mor</em>, a broadsword, Gaelic.</p> - -<p><em>Claid crom</em>, a sabre, Gaelic.</p> - -<p><em>Claid caol</em>, a small sword, Gaelic.</p> - -<p><em>Claymore</em>, a Scottish two-hand sword (see above). The modern use of -the word is erroneous.</p> - -<p><em>Clef</em>, trigger.</p> - -<p><em>Clevengi</em>, studs to fasten the <a href="#FEN">fendace</a> or gorget.<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p> - -<p><em>Clibanion</em>, a jack of scale armour, <b>G</b>.</p> - -<p><em>Clipeus</em>, It. a circular shield.</p> - -<p><em>Clous perdus</em>, Fr., false and useless rivet-heads found in XVII-cent. armour.</p> - -<p><em>Cnémide</em>, Fr. see <a href="#JAM">jambs</a>.</p> - -<a name="COC" id="COC"></a> -<p><em>Coche</em>, the notch of an arrow, the nut of a crossbow, <b>C</b>.</p> - -<p><em>Coda di gambero</em>, It. see <a href="#LOB">lobster-tail</a>.</p> - -<p><em>Codole</em>, Sp. elbow-cop.</p> - -<a name="COD" id="COD"></a> -<p><em>Codpiece</em>, a piece of plate to protect the fore-body.</p> - -<a name="COI" id="COI"></a> -<p><em>Coif de mailes</em>, hood of chain mail, see <a href="#CAM">camail</a>.</p> - -<p><em>Colichemarde</em>, swords invented by Königsmark about 1661–86.</p> - -<p><em>Colet</em>, <span class="pad1"> }</span></p> -<p><em>Coletin</em>, } Fr. a <a href="#GOR">gorget</a>, also a jerkin.</p> -<p><em>Collettin</em>, }</p> - -<a name="COL" id="COL"></a> -<p><em>Colletto</em>, It. a buff coat.</p> - -<p><em>Collo</em>, It. see <a href="#CRI">crinet</a>.</p> - -<p><em>Colodrillo</em>, Sp. the plate of the helmet that covered the nape of the neck.</p> - -<p><em>Coltellaccio</em>, It. see <a href="#CUT">cutlass</a>.</p> - -<p><em>Cophia</em>, a <a href="#COI">coif</a> of mail.</p> - -<p><em>Coppo</em>, It. the skull of a helm or helmet.</p> - -<p><em>Corale</em>, see <a href="#CUS">cuisses</a>.</p> - -<p><em>Coracina</em>, Sp. <a href="#CUR">cuirass</a>.</p> - -<p><em>Corium</em>, armour composed of leather.</p> - -<p><em>Cornel</em>, } O.E. the rosette or button fixed on the</p> -<p><em>Coronall</em>, } tip of the lance in some forms of tilting.</p> - -<p><em>Corpel</em>, O.F. the hilt of a sword, <b>R</b>.</p> - -<p><em>Corregge</em>, It. see <a href="#BRE">bretelles</a>.</p> - -<p><em>Corseque</em>, Fr. a species of <a href="#PAZ">partizan</a>, <b>G</b>.</p> - -<p><em>Corsesca</em>, It. see <a href="#RAN">ranseur</a>.</p> - -<p><em>Cosciale</em>, }</p> -<p><em>Coscioni</em>, } see <a href="#CUI">cuissard</a>.</p> -<p><em>Costale</em>, }</p> - -<p><em>Coschewes</em>, O.E. see <a href="#CUS">cuisses</a>.</p> - -<p><em>Costa</em>, It. the wings on the head of the war-mace.</p> - -<p><em>Coat-armour</em>, see <a href="#SUR">surcoat</a>.</p> - -<p><em>Coterel</em>, O.F. a large knife, <b>R</b>.</p> - -<p><em>Cotta di maglia</em>, It. a coat of mail.</p> - -<p><em>Cottyngyre</em>, cold-chisel.</p> - -<a name="CDE" id="CDE"></a> -<p><em>Coude</em>, }</p> -<p><em>Coudière</em>, } elbow-pieces of plate.</p> -<p><em>Coute</em>, }</p> - -<p><em>Coup de poing</em>, Fr. a small pistol.</p> - -<p><em>Coursel</em>, Fr. windlass for a crossbow, <b>G</b>.</p> - -<p><em>Coussart</em>, a demi-glaive, XV cent.</p> - -<p><em>Coustile</em>, Fr. a knife and possibly a staff-weapon with cutting -point, <b>G</b>.</p> - -<p><em>Coustil à croc</em>, } short, single-handed sword with two-edged blade.</p> -<p><em>Coutel</em>, <span class="pad3">}</span></p> - -<a name="COU" id="COU"></a> -<p><em>Couvrenuque</em>, Fr. the neck-plate of the back of the <a href="#AMT">armet</a> or <a href="#SAL">sallad</a>.</p> - -<p><em>Cracowes</em>, } sometimes used for <a href="#POL">poleynes</a> and also</p> -<p><em>Crakoes</em>, } for pointed shoes, XIV cent.</p> - -<p><em>Crampon</em>, a bolt for attaching the helm to the <a href="#CUR">cuirass</a>.</p> - -<a name="CRA" id="CRA"></a> -<p><em>Cranequin</em>, the wheel and ratchet machine for bending the crossbow.</p> - -<p><em>Cravates</em>, French mounted militia.</p> - -<p><em>Cresta</em>, It. <span class="pad2">}</span></p> -<p><em>Cresteria</em>, Sp. } crest of a helmet.</p> -<p><em>Crête</em>, Fr. <span class="pad2">}</span></p> - -<a name="CRE" id="CRE"></a> -<p><em>Crête-échelle</em>, a support fixed from helm to back-plate to take -the shock when tilting.</p> - -<p><em>Crêtu</em>, O.F. a sword-breaker, <b>R</b>.</p> - -<a name="CRI" id="CRI"></a> -<p><em>Crinet</em>, armour for the horse’s neck.</p> - -<p><em>Crochets de retraits</em>, trail-hooks of a cannon, <b>H</b>.</p> - -<p><em>Crinière</em>, see <a href="#CRI">crinet</a>.</p> - -<p><em>Croissante</em>, see <a href="#MOT">moton</a>.</p> - -<p><em>Crosse</em>, the butt of a gun or a crossbow.</p> - -<a name="CRR" id="CRR"></a> -<p><em>Croupière</em>, armour for the hinder part of a horse.</p> - -<p><em>Cubitiera</em>, It. <a href="#ELB">elbow-cop</a>.</p> - -<p><em>Cubrenuca</em>, Sp. see <a href="#COU">couvrenuque</a>.</p> - -<a name="CUR" id="CUR"></a> -<p><em>Cuirass</em>, body-armour, originally of leather, afterwards of plate.</p> - -<a name="CUB" id="CUB"></a> -<p><em>Cuir-bouilly</em>, } defences for horse and man made of</p> -<p><em>Cure-buly</em>, } boiled and moulded leather.</p> - -<a name="CUI" id="CUI"></a> -<p><em>Cuissards</em>, leg-armour, comprising <a href="#CUS">cuisses</a> and <a href="#KNC">knee-cops</a> and <a href="#JAM">jambs</a>.</p> - -<a name="CUS" id="CUS"></a> -<p><em>Cuishe</em>, }</p> -<p><em>Cuisse</em>, } thigh-pieces of plate.</p> -<p><em>Cuyshe</em>, }</p> - -<p><em>Cuissots</em>, see <a href="#CUS">cuisse</a>.</p> - -<p><em>Culasse</em>, the breech of a gun.</p> - -<p><em>Culet</em>, kilt or skirt.</p> - -<p><em>Cullotes</em>, Fr. breeches.</p> - -<p><em>Culverin</em>, a hand-gun or light piece of ordnance, XV, XVII cent.</p> - -<p><em>Curatt</em>, see <a href="#CUR">cuirass</a>.</p> - -<p><em>Curtale</em>, O.It., a variety of cannon, <b>F</b>.</p> - -<p><em>Curtana</em>, the blunted “sword of Mercy” used at the Coronation.</p> - -<a name="CUT" id="CUT"></a> -<p><em>Curtelaxe</em>, O.E. for cutlass.</p> - -<p><em>Ciclaton</em>, } a tight-fitting <a href="#SUR">surcoat</a> shorter in front</p> -<p><em>Cyclas</em>, } than behind, XIV cent.</p> - -<p><em>Cyseau</em>, O.F. an arrow or dart, <b>R</b>.</p> - - -<div class="p2 pad10">D</div> - -<p><em>Daburge</em>, a ceremonial mace.</p> - -<p><em>Dag, Tag</em>, a short pistol, XVI-XVII cent.</p> - -<p><em>Dague à couillettes</em>, Fr. see <a href="#BKN">balloch knife</a>.</p> - -<p><em>Dague à oreilles</em>, a dagger with the pommel fashioned like two circular wings.<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - -<p><em>Dague à rognons</em>, Fr. a dagger with kidney-shaped projections above -the <a href="#QUI">quillons</a>.</p> - -<p><em>Dague à ruelle</em>, Fr. a dagger with thumb-ring.</p> - -<p><em>Dard</em>, Sp. javelin.</p> - -<p><em>Degen</em>, Germ. sword, dagger.</p> - -<p><em>Demi-poulaine</em>, pointed <a href="#SOL">sollerets</a> of medium length.</p> - -<p><em>Demy-teste</em>, O.E. a steel skull-cap, <b>C</b>.</p> - -<p><em>Destrier</em>, a war-horse.</p> - -<p><em>Détente</em>, Fr. the trigger.</p> - -<a name="DIE" id="DIE"></a> -<p><em>Diechlinge</em>, } Germ. see <a href="#CUS">cuisse</a>.</p> -<p><em>Dieling</em>, <span class="pad2">}</span></p> - -<p><em>Dilge</em>, Germ. leg-guard for jousts.</p> - -<p><em>Dobbles</em>, O.E. probably moulds or patterns on which armour was made.</p> - -<p><em>Dolch</em>, Germ. poniard.</p> - -<p><em>Dolequin</em>, a dagger, <b>R</b>.</p> - -<p><em>Doloire</em>, a short-handled axe, <b>G</b>.</p> - -<p><em>Dolon</em>, O.E. a club, <b>R</b>.</p> - -<p><em>Dorso</em>, It. the back of a gauntlet.</p> - -<p><em>Dos</em>, Sp. back-plate of a <a href="#CUR">cuirass</a>.</p> - -<p><em>Dossière</em>, Fr. the back-piece of the <a href="#CUR">cuirass</a>.</p> - -<p><em>Dussack</em>, Hungarian and German sword of cutlass form.</p> - - -<div class="p2 pad10">E</div> - -<p><em>Écrevisse</em>, Fr. see <a href="#LOB">lobster-tail</a>.</p> - -<p><em>Écu</em>, Fr. shield.</p> - -<p><em>Écouvillon</em>, sponge of a cannon.</p> - -<p><em>Eisenkappe</em>, Germ. a skull-cap of steel.</p> - -<p><em>Eisenschuhe</em>, Germ. see <a href="#SOL">sollerets</a>.</p> - -<a name="ELB" id="ELB"></a> -<p><em>Elbow-cops</em>, elbow-pieces of plate armour.</p> - -<p><em>Elbow gauntlet</em>, a metal or leather glove with cuff reaching to -the elbow, XVI, XVII cent.</p> - -<p><em>Elingue</em>, O.F. a sling, <b>R</b>.</p> - -<p><em>Ellenbogenkachel</em>, Germ. see <a href="#CDE">coude</a>.</p> - -<p><em>Elmo di giostra</em>, It. a tilting-helm.</p> - -<p><em>Elsa</em>, }</p> -<p><em>Elso</em>, } the hilt of a sword or dagger, <b>F</b>.</p> -<p><em>Elza</em>, }</p> - -<a name="ENA" id="ENA"></a> -<p><em>Enarmes</em>, the loops for holding a shield.</p> - -<p><em>Encoche</em>, see <a href="#COC">coche</a>.</p> - -<p><em>Enlace</em>, see <a href="#ANE">anelace</a>.</p> - -<p><em>Épaulière</em>, } shoulder-defence, of plate.</p> -<p><em>Éspalière</em>, }</p> - -<p><em>Épaule-de-Monton</em>, Fr. see <a href="#POL">poldermitton</a>.</p> - -<a name="EPI" id="EPI"></a> -<p><em>Épieu</em>, a spear; a spear with crossbar or toggle, <b>G</b>.</p> - -<p><em>Esca</em>, It. tinder.</p> - -<p><em>Escarcelas</em>, Sp. <a href="#TAS">tassets</a>.</p> - -<p><em>Escarpes</em>, Sp. <a href="#SOL">sollerets</a>.</p> - -<p><em>Esclaivine</em>, O.F. a dart, <b>R</b>.</p> - -<p><em>Escopette</em>, a pistol or carbine with a firelock, <b>C</b>.</p> - -<p><em>Espada</em>, Sp. a long sword.</p> - -<p><em>Espadin</em>, Sp. a short sword.</p> - -<p><em>Espaldar</em>, Sp. <a href="#PAU">pauldron</a>.</p> - -<p><em>Espare</em>, O.F. a dart, <b>R</b>.</p> - -<p><em>Espieu</em>, see <a href="#EPI">épieu</a>.</p> - -<p><em>Espingardier</em>, an arquebussier, <b>C</b>.</p> - -<p><em>Esponton</em>, Fr. see <a href="#SPO">spontoon</a>.</p> - -<a name="ESP" id="ESP"></a> -<p><em>Espringale</em>, a siege crossbow on wheels, a piece of siege ordnance, <b>G</b>.</p> - -<p><em>Espuello</em>, Sp. spur.</p> - -<p><em>Estival</em>, leg-armour for a horse; exceedingly rare in MSS.; only -one example of this armour exists, in Brussels.</p> - -<a name="EST" id="EST"></a> -<p><em>Estoc</em>, a thrusting sword.</p> - -<p><em>Estradiots</em>, Greek horsemen, temp. Charles VIII.</p> - -<p><em>Estramaçon</em>, the edge of a sword, a sword-cut.</p> - -<p><em>Étoupin</em>, a quick-match.</p> - -<p><em>Étrière</em>, a military <a href="#FLL">flail</a>, <b>G</b>.</p> - -<p><em>Étrier</em>, Fr. stirrup.</p> - -<p><em>Exsil</em>, O.F. the scabbard of a sword, <b>R</b>.</p> - - -<div class="p2 pad10">F</div> - -<a name="FAL" id="FAL"></a> -<p><em>Falcione</em>, It. see <a href="#FLK">falk</a>.</p> - -<p><em>Falda</em>, It. see <a href="#TAC">taces</a>.</p> - -<p><em>Falarique</em>, an arrow headed with tow, for incendiary purposes, <b>G</b>.</p> - -<p><em>Faldaje</em>, Sp. <a href="#TAC">taces</a>.</p> - -<a name="FLK" id="FLK"></a> -<p><em>Falk</em>, a primitive weapon formed of a scythe-blade fixed on a pole; a <a href="#GLA">glaive</a>.</p> - -<p><em>Falsaguarda</em>, Sp. the wings on the blade of the two-hand sword.</p> - -<p><em>Fan-plate</em>, the “wing” on the outside of the knee-cop.</p> - -<p><em>Fauchard</em>, see <a href="#GLA">glaive</a>.</p> - -<p><em>Faucre</em>, Fr. a lance-rest.</p> - -<p><em>Fautre</em>, Fr. thigh-armour.</p> - -<p><em>Faux</em>, see <a href="#FLK">falk</a>.</p> - -<a name="FES" id="FES"></a> -<p><em>Feather-staff</em>, a staff in which are concealed spikes released by a spring.</p> - -<p><em>Federzapfen</em>, Germ. spring-pins to which the <a href="#PAU">pauldrons</a> are hung, XVI cent.</p> - -<a name="FEN" id="FEN"></a> -<p><em>Fendace</em>, a species of gorget, XV cent.</p> - -<p><em>Feure</em>, O.F. a scabbard, <b>R</b>.</p> - -<p><em>Fiancali</em>, It. see <a href="#TAS">tasset</a>, also <a href="#FLA">flanchard</a>.</p> - -<p><em>Fioreti</em>, It. a thrusting foil.</p> - -<a name="FLL" id="FLL"></a> -<p><em>Flail</em>, the military flail was like the agricultural implement, but<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> -as a weapon of war the thresher was of iron instead of wood.</p> - -<a name="FLM" id="FLM"></a> -<p><em>Flambard</em>, } a two-hand sword with wavy blade.</p> -<p><em>Flamberge</em>, }</p> - -<p><em>Flamberg</em>, Germ. rapier with wavy blade.</p> - -<a name="FLA" id="FLA"></a> -<p><em>Flanchard</em>, O.E. <span class="pad2"> }</span></p> -<p><em>Flancoîs</em>, Fr. <span class="pad4">}</span> armour for the flanks of a horse.</p> -<p><em>Flankenpanzer</em>, Germ. }</p> -<p><em>Flanqueras</em>, Sp. <span class="pad2"> }</span></p> - -<p><em>Flaon</em>, Fr. a wedge fastened to the breast-piece which took the -shock of the shield; see <a href="#POR">poire</a>.</p> - -<p><em>Fleau</em>, Fr. military <a href="#FLL">flail</a>.</p> - -<p><em>Flechière</em>, see <a href="#FLA">flanchard</a>.</p> - -<p><em>Fletcher</em>, a maker of arrows.</p> - -<p><em>Fleuret</em>, thrusting foil.</p> - -<p><em>Flight</em>, an arrow for distance shooting.</p> - -<p><em>Flo</em>, O.E. arrow.</p> - -<p><em>Forcina</em>, It. a gun-fork.</p> - -<p><em>Forconi</em>, It. a military fork for escalades.</p> - -<p><em>Fornimento</em>, It. the hilt of a sword.</p> - -<p><em>Fouchard</em>, see <a href="#GLA">glaive</a>.</p> - -<p><em>Fouloir</em>, the rammer of a cannon.</p> - -<p><em>Framée</em>, O.F. a mallet or mace, <b>R</b>.</p> - -<p><em>Francesca</em>, It. a battle-axe or <a href="#POA">pole-axe</a>.</p> - -<p><em>Francisque</em>, a long-handled axe, <b>R</b>.</p> - -<p><em>Freccia</em>, It. an arrow.</p> - -<p><em>Freiturnier</em>, Germ. a joust run without a barrier, XVI cent.</p> - -<p><em>Frête</em>, O.F. a variety of arrows, <b>R</b>.</p> - -<p><em>Frog</em>, the hanger of a sword-belt.</p> - -<p><em>Fronde</em>, Fr. a sling.</p> - -<p><em>Frontale</em>, It. see <a href="#CHM">chamfron</a>.</p> - -<p><em>Fronteau</em>, F. see <a href="#CHM">chamfron</a>.</p> - -<p><em>Fueille</em>, the blade of a sword, <b>C</b>.</p> - -<p><em>Fusetto</em>, It. see <a href="#MIS">misericorde</a>.</p> - -<p><em>Fusil</em>, short musket with a firelock.</p> - -<p><em>Fussturnier</em>, Germ. joust on foot, XVI cent.</p> - -<p><em>Fust</em>, the stock of a firearm.</p> - - -<div class="p2 pad10">G</div> - -<p><em>Gadlings</em>, knuckle or finger spikes fixed to the gauntlet.</p> - -<a name="GAG" id="GAG"></a> -<p><em>Gagnepain</em>, { Gay derives this from canepin, sheep or goat leather, hence a</p> -<p><em>Gaynpayne</em>, { glove of leather, mail, or plate. Meyrick explains it as a sword.</p> - -<p><em>Galapentin</em>, O.F. a sword or sabre, <b>R</b>.</p> - -<p><em>Galea</em>, It. a helm.</p> - -<a name="GAM" id="GAM"></a> -<p><em>Gambeson</em>, a quilted tunic, XI cent.</p> - -<p><em>Gambiera</em>, It. see <a href="#JAM">jambs</a>.</p> - -<p><em>Gardaignes</em>, O.F. arms, clothing, etc., <b>R</b>.</p> - -<p><em>Garde-de-bras</em>, reinforcing piece for the left arm, used in tilting.</p> - -<p><em>Garde-faude</em>, Fr. see <a href="#COD">codpiece</a>.</p> - -<p><em>Garde-ferre</em>, O.F. the rest of the lock of the <a href="#ARQ">arquebus</a> (pan cover?), <b>C</b>.</p> - -<p><em>Garde-collet</em>, Fr. neck-guards on the <a href="#PAU">pauldron</a>.</p> - -<a name="GAR" id="GAR"></a> -<p><em>Garde-rein</em>, E.Fr. loin-guard of armour.</p> - -<a name="GAQ" id="GAQ"></a> -<p><em>Garde-queue</em>, Fr. the tail-guard of a horse.</p> - -<p><em>Garrock</em>, } used for the <a href="#QUA">quarrel</a> of the crossbow</p> -<p><em>Garrot</em>, } and also for the lever.</p> - -<p><em>Gaudichet</em>, O.F. a mail shirt.</p> - -<p><em>Gaveloc</em>, }</p> -<p><em>Gaveloche</em>, } a species of javelin.</p> -<p><em>Gavelot</em>, }</p> - -<p><em>Gavette</em>, It. the string of the crossbow.</p> - -<p><em>Genestare</em>, O.F. a javelin, <b>R</b>.</p> - -<p><em>Gedritts</em>, a German form of joust in which the challenger fought -two opponents in succession.</p> - -<p><em>Gefingerte handschuh</em>, Germ. gauntlet with separate articulated fingers.</p> - -<p><em>Geldière</em>, O.F. a kind of lance, <b>R</b>.</p> - -<p><em>Genetaire</em>, a javelin, XV. cent.</p> - -<a name="GEN" id="GEN"></a> -<p><em>Genouillières</em>, jointed knee-pieces of plate.</p> - -<p><em>Gentilhomme</em>, a wooden cannon bristling with spikes, XVI cent., <b>G</b>.</p> - -<p><em>Gesäfreifen</em>, Germ. rein or loin guard.</p> - -<p><em>Gestech</em>, various forms of the joust as practised in Germany, run -without barriers.</p> - -<p><em>Ghiazarino</em>, It. see <a href="#JAZ">jazerant</a>.</p> - -<p><em>Gibet</em>, a military mace.</p> - -<p><em>Gibicière</em>, Fr. a cartridge box, also pouch.</p> - -<p><em>Ginocchietti</em>, see <a href="#GEN">genouillière</a>.</p> - -<a name="GIS" id="GIS"></a> -<p><em>Gisarme</em>, a staff weapon of the glaive order.</p> - -<p><em>Giostra</em>, It. joust.</p> - -<a name="GLA" id="GLA"></a> -<p><em>Glaive</em>, a species of bill with a large blade.</p> - -<p><em>Glazing-wheel</em>, polishing-wheel for armour plates.</p> - -<p><em>Gliedschirm</em>, Germ. see <a href="#COD">codpiece</a>.</p> - -<a name="GOA" id="GOA"></a> -<p><em>Goat’s-foot</em>, a lever for bending the crossbow.</p> - -<p><em>Godbert</em>, see <a href="#HAU">hauberk</a>.</p> - -<p><em>Godendar</em>, } a species of short club at the top of</p> -<p><em>Goedendag</em>, } which is a spike, XIII-XIV cent.</p> -<p><em>Goudendar</em>, }</p> - -<p><em>Goie</em>, } a hedging-bill, <b>C</b>.</p> -<p><em>Goy</em>, }</p> - -<p><em>Goiz</em>, O.F. a sword, <b>R</b>.</p> - -<p><em>Gola</em>, Sp. } <a href="#GOR">gorget</a>.</p> -<p><em>Goletta</em>, It. }</p> - -<p><em>Gonpillon</em>, Fr. see <a href="#HOL">holy-water sprinkle</a>.</p> - -<p><em>Gonfanon</em>, Fr. a flag or standard.</p> - -<a name="GOR" id="GOR"></a> -<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span> - <em>Gorget</em>, <span class="pad2">}</span></p> -<p><em>Gorgiera</em>, It. } a wide plate collar to protect the</p> -<p><em>Gorjal</em>, Sp. } throat, XVIII cent.; purely ornamental.</p> -<p><em>Gougerit</em>, Fr. }</p> - -<p><em>Gossets</em>, see <a href="#GUS">gussets</a>.</p> - -<p><em>Graffe</em>, Fr. a small dagger.</p> - -<a name="GRG" id="GRG"></a> -<p><em>Grand-guard</em>, reinforcing piece for tilting, worn on the left shoulder.</p> - -<p><em>Grano d’orzo</em>, It. chain mail closed with a rivet.</p> - -<p><em>Grappes</em>, Fr. { a toothed ring on the “grip” of the lance which</p> -<p><em>Grappers</em>, { held the weapon firmly against the wood or lead</p> -<p><em>Grates</em>, <span class="pad2">{</span> block behind the lance rest.</p> - -<p><em>Greave</em>, }</p> -<p><em>Greve</em>, Fr. } shin-defence, of plate.</p> -<p><em>Greba</em>, Sp. }</p> - -<p><em>Gronda</em>, It. see <a href="#COU">couvrenuque</a>.</p> - -<p><em>Groppa</em>, It. } see <a href="#CRR">crupper</a>.</p> -<p><em>Grupera</em>, Sp. }</p> - -<p><em>Guanciali</em>, It. ear-flaps of a <a href="#BUR">burgonet</a>.</p> - -<p><em>Guardabrazos</em>, Sp. see <a href="#PAU">pauldron</a>.</p> - -<p><em>Guardacorda</em>, It. see <a href="#GAQ">garde-queue</a>.</p> - -<p><em>Guardacuore</em>, It. see <a href="#MEN">mentonière</a>.</p> - -<p><em>Guardagoletta</em>, It. the neck-guards on the <a href="#PAU">pauldrons</a>.</p> - -<p><em>Guarda-o-rodillera</em>, Sp. <a href="#KNC">knee-cop</a>.</p> - -<p><em>Guardastanca</em>, It. see <a href="#GRG">grand-guard</a>.</p> - -<p><em>Guige</em>, the strap round the neck to carry the shield, XII cent.</p> - -<p><em>Guiterre</em>, O.F. a small buckler of leather, <b>R</b>.</p> - -<a name="GUS" id="GUS"></a> -<p><em>Gusset</em>, 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.</p> - -<p><em>Guyders</em>, straps to fasten the various pieces that went to make up -the suit of plate armour, also gussets.</p> - -<p><em>Gynours</em>, the servers of catapults and the like siege engines.</p> - - -<div class="p2 pad10">H</div> - -<p><em>Hackbuss</em>, see <a href="#ARQ">arquebus</a>.</p> - -<p><em>Hake, demi-hake</em>, O.E. the former an <a href="#ARQ">arquebus</a>, the latter a short -firearm, XVI cent.</p> - -<p><em>Hagbuttes</em>, <a href="#ARQ">arquebus</a>.</p> - -<p><em>Haketon</em>, see <a href="#GAM">gambeson</a>.</p> - -<p><em>Halacret</em>, see <a href="#ALA">alacret</a>.</p> - -<p><em>Halagues</em>, crossbowmen, <b>R</b>.</p> - -<a name="HAL" id="HAL"></a> -<p> <span class="pad5">{</span> a long-shafted weapon with crescent-shaped</p> -<p><em>Halebarde</em>, { blade on one side and a hook or spur on the other,</p> -<p><em>Halbert</em>, { surmounted by a spear-head; sometimes found with</p> -<p><em>Harlbart</em>, { double blade, XV and XVI cent.</p> - -<p><em>Halsberge</em>, Germ. see <a href="#GOR">gorget</a>.</p> - -<p><em>Hampe</em>, the staff of a <a href="#HAL">halbert</a> or <a href="#PIK">pike</a>.</p> - -<p><em>Hand and half sword</em>, see <a href="#BSW">bastard sword</a>.</p> - -<p><em>Hansart</em>, O.F. a missile weapon of the javelin order, <b>R</b>.</p> - -<p><em>Harnischekappe</em>, Germ. the padded cap worn under the tilting-helm.</p> - -<p><em>Hars</em>, O.F. a bow, <b>R</b>.</p> - -<p><em>Harthstake</em>, a rake or poker for the forge.</p> - -<a name="HAU" id="HAU"></a> -<p><em>Haubergeon</em>, } short { shirt of chain mail, XI to XII cent.</p> -<p><em>Hauberk</em>, <span class="pad2">}</span> long {</p> - -<p><em>Haulse-col</em>, } Fr. see <a href="#GOR">gorget</a>.</p> -<p><em>Hausse-col</em>, }</p> - -<p><em>Hausecol de mailes</em>, Fr. see <a href="#STA">standard of mail</a>.</p> - -<p><em>Haustement</em>, Fr. a close-fitting undergarment to which the hose -and the chausses were fastened with points.</p> - -<p><em>Haute barde</em>, Fr. a high-peaked saddle.</p> - -<p><em>Haute cloueure</em>, Fr. high-proof armour, especially mail.</p> - -<p><em>Hauste</em>, O.F. the staff of a <a href="#PIK">pike</a>, <b>R</b>.</p> - -<p><em>Heaume</em>, a heavy helm without movable <a href="#VIS">visor</a> and only an eye-slit -or occularium, mostly used for tilting.</p> - -<p><em>Hendeure</em>, Fr. the “grip” of the sword.</p> - -<p><em>Hentzen</em>, Germ. mitten gauntlets.</p> - -<p><em>Hinterarm</em>, Germ. see <a href="#RER">rerebrace</a>.</p> - -<p><em>Hinterfluge</em>, Germ. the back-plate of the <a href="#PAU">pauldron</a>.</p> - -<p><em>Hinterschurz</em>, Germ. see <a href="#GAR">garde-rein</a>.</p> - -<p><em>Hobilers</em>, common light-horse troopers.</p> - -<p><em>Hoguines</em>, see <a href="#CUS">cuisse</a>.</p> - -<a name="HOL" id="HOL"></a> -<p><em>Holy-water sprinkle</em>, a shaft of wood fitted with an iron -spike-studded ball, XVI cent.</p> - -<p><em>Horse-gay</em>, a demi-lance, XV cent.</p> - -<p><em>Hosting harness</em>, armour for war as distinct from that of the joust.</p> - -<p><em>Hufken</em>, a light head-piece worn by archers, XVI cent.</p> - -<p><em>Huque</em>, long surcoat worn over the armour, XV cent.</p> - -<p><em>Huvette</em>, Fr. a head-piece of leather or cloth stiffened with -wicker or metal, XIV cent.</p> - -<p><em>Hwitel</em>, Anglo-Saxon, knife.</p> - - -<div class="p2 pad10">I</div> - -<p><em>Imbracciatura</em>, It. see <a href="#ENA">enarmes</a>.</p> - -<p><em>Imbricated mail</em>, see <a href="#JAZ">jazerant</a>.</p> - - -<p><span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span></p> - -<div class="p2 pad10">J</div> - -<p><em>Jack</em>, a loose-fitting tunic of leather, either quilted or -reinforced with plates of metal or horn.</p> - -<a name="JMB" id="JMB"></a> -<p><em>Jambers</em>, } see <a href="#JAM">jambs</a>.</p> -<p><em>Jambeux</em>, }</p> - -<a name="JAY" id="JAY"></a> -<p><em>Jamboys</em>, skirts of plate, XVI cent., see <a href="#BSS">bases</a>.</p> - -<a name="JAM" id="JAM"></a> -<p><em>Jambs</em>, armour for the lower leg.</p> - -<p><em>Janetaire</em>, see <a href="#JAV">javelin</a>.</p> - -<p><em>Jarnac, Brassard à la</em>, a jointless arm-piece of plate reaching -from shoulder to wrist.</p> - -<p><em>Jarnac, Coup de</em>, a cut on the back of the leg or a “hamstringing cut.”</p> - -<a name="JAZ" id="JAZ"></a> -<p><em>Jazerant</em>, body-armour made of small plates, of the <a href="#BRI">brigandine</a> type.</p> - -<p><em>Jeddartstaff</em>, a long-shafted axe.</p> - -<p><em>Jupon</em>, a short <a href="#SUR">surcoat</a>, XIV-XV cent.</p> - -<p><em>Justes of peace</em>, jousts at barriers.</p> - - -<div class="p2 pad10">K</div> - -<p><em>Kamm</em>, Germ. the crest or ridge of the helmet as distinct from the -heraldic crest.</p> - -<p><em>Kamfhandschuhe</em>, Germ. gauntlet.</p> - -<p><em>Kehlstück</em>, Germ. the neck-plate in the front of an <a href="#AMT">armet</a>.</p> - -<p><em>Kettyl-hat</em>, a wide-brimmed steel war-hat, XIV cent.</p> - -<p><em>Kinnreff</em>, Germ. <a href="#BEV">bevor</a>.</p> - -<a name="KNC" id="KNC"></a> -<p><em>Knee-cops</em>, <span class="pad3">{</span> knee-defences of plate, first worn</p> -<p><em>Kniebuckel</em>, Germ. { over chain-mail <a href="#CHS">chaussons</a>, and</p> -<p><em>Kniestück</em>, Germ. { afterwards with complete plate armour.</p> - -<p><em>Knuckle-bow</em>, the part of the sword-guard that protects the knuckle.</p> - -<p><em>Kragen</em>, Germ. <a href="#GOR">gorget</a>.</p> - -<p><em>Krebs</em>, Germ. see <a href="#TAS">tasset</a>.</p> - - -<div class="p2 pad10">L</div> - -<p><em>Lama</em>, It. sword-blade.</p> - -<p><em>Lama a biscia</em>, It. see <a href="#FLM">flamberge</a>.</p> - -<p><em>Lamboys</em>, see <a href="#JAY">jamboys</a>.</p> - -<a name="LMB" id="LMB"></a> -<p><em>Lambrequin</em>, 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.</p> - -<a name="LAM" id="LAM"></a> -<p><em>Lames</em>, narrow strips of steel riveted together horizontally as in the taces.</p> - -<p><em>Lance a böete</em>, a lance with blunted point.</p> - -<p><em>Lance de carrière</em>, a lance for tilting at the ring, <b>C</b>.</p> - -<p><em>Lance a rouèt</em>, or <em>courtoise</em>, blunted lances for tournaments, <b>R</b>.</p> - -<p><em>Lance-rest</em>, an adjustable hook or rest fixed on the right side of -the breastplate.</p> - -<p><em>Lancegay</em>, } O.F. a short spear, hence light horseman, <b>R</b>.</p> -<p><em>Launcegay</em>, }</p> - -<p><em>Lanciotto</em>, It. javelin.</p> - -<p><em>Lansquenette</em>, <span class="pad2">}</span> a broad-bladed double-edged</p> -<p><em>Landsknecht</em>, <span class="pad2"> }</span> sword, and also German mercenary</p> -<p><em>Lanzichenecco</em>, It. } infantry, XVI cent.</p> - -<p><em>Leva</em>, It. see <a href="#GOA">goat’s-foot lever</a>.</p> - -<p><em>Lendenplatte</em>, Germ. a large <a href="#CUS">cuisse</a> for tilting.</p> - -<p><em>Lingua di bue</em>, It. see <a href="#CIN">cinquedea</a>.</p> - -<a name="LIN" id="LIN"></a> -<p><em>Linstock</em>, a combination of <a href="#PIK">pike</a> and match-holder, used by gunners -for firing cannon.</p> - -<a name="LOB" id="LOB"></a> -<p><em>Lobster-tail</em>, back peak of a helmet, or <a href="#CUS">cuisses</a>, made of -overlapping lames like a lobster-shell, XVII cent.</p> - -<p><em>Lochaber axe</em>, a long-shafted axe. Scottish, XVII, XVIII cent.</p> - -<p><em>Locket</em>, the metal socket at the top of the sword sheath with -button for hanging to the belt.</p> - -<p><em>Locking gauntlet</em>, 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.</p> - -<p><em>Loque</em>, O.F. a quarter-staff, <b>R</b>.</p> - -<p><em>Luchet</em>, O.F. an iron <a href="#PIK">pike</a>, <b>R</b>.</p> - -<p><em>Luneta</em>, Sp. <a href="#RON">rondel</a>.</p> - -<p><em>Lunette</em>, Fr. open sword-guard, late XVII cent.</p> - - -<div class="p2 pad10">M</div> - -<p><em>Maglia gazzarrina</em>, It. see <a href="#JAZ">jazerant</a>.</p> - -<p><em>Maglia piatta</em>, It. see <a href="#RIM">ringed mail</a>.</p> - -<p><em>Mähenpanzer</em>, Germ. see <a href="#CRI">crinet</a>.</p> - -<p><em>Maillet</em>, Fr. a <a href="#MAR">martel de fer</a>, XIV cent.</p> - -<p><em>Mainfaire</em>, } a right-hand gauntlet.</p> -<p><em>Manifer</em>, }</p> - -<a name="MAG" id="MAG"></a> -<p><em>Main gauche</em>, dagger used with the left hand when the right hand -held the sword.</p> - -<p><em>Maleus</em>, a falchion, <b>F</b>.</p> - -<p><em>Mamillières</em>, circular plates worn over the breast to hold chains -to which the sword and dagger were attached, XIV cent.</p> - -<p><em>Mancina</em>, It. see <a href="#MAG">main gauche</a>.</p> - -<p><em>Manetta</em>, It. the trigger of a gun, also a spanner.</p> - -<p><em>Manezza di ferro</em>, an arming-gauntlet, <b>F</b>.</p> - -<p><em>Manicle</em>, gauntlet.</p> - -<p><em>Manico</em>, It. the grip of a sword.</p> - -<p><em>Manoglia</em>, It. the handle of a small buckler.</p> - -<p><em>Manopla</em>, Sp. } gauntlet.</p> -<p><em>Manople</em>, It. }</p> - -<p><em>Manteau d’armes</em>, a rigid cape-like shield fixed to the left breast<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> -and shoulder for tilting.</p> - -<p><em>Mantling</em>, see <a href="#LMB">lambrequin</a>.</p> - -<a name="MAR" id="MAR"></a> -<p><em>Martel de fer</em>, Fr. } a war-hammer used by horse and foot.</p> -<p><em>Martello d’arme</em>, It. }</p> - -<p><em>Martinetto</em>, } It. see <a href="#CRA">cranequin</a>.</p> -<p><em>Martinello</em>, }</p> - -<p><em>Mascled</em>, <em>mail</em>, { lozenge-shaped plates of metal, sometimes</p> -<p><em>Macled</em>, <em>mail</em>, { overlapping, sewn upon a tunic of leather or</p> -<p><span class="pad6"> {</span> quilted linen, XI, XII cent. (Meyrick).</p> - -<p><em>Massüe</em>, Fr. a mace or club.</p> - -<a name="MAT" id="MAT"></a> -<p><em>Matchlock</em>, a firearm with touch-hole and fired with a match, early XV cent.</p> - -<p><em>Mattucashlass</em>, a Scottish dagger carried under the armpit.</p> - -<a name="MAU" id="MAU"></a> -<p><em>Maule</em>, a mace or club.</p> - -<p><em>Maximilian armour</em>, a style of plate armour distinguished by shallow -vertical flutings, said to have been devised by the Emperor Maximilian I, XVI cent.</p> - -<p><em>Mazza d’arme</em>, It. war-mace.</p> - -<p><em>Mazzafrustro</em>, It. see <a href="#FLL">flail</a>, also <a href="#MOR">morning star</a>.</p> - -<p><em>Méche soufrée</em>, a slow-match.</p> - -<p><em>Mell</em>, see <a href="#MAU">maule</a>.</p> - -<a name="MEN" id="MEN"></a> -<p><em>Mentonière</em>, a piece used with the <a href="#SAL">sallad</a> to protect chin and breast.</p> - -<p><em>Merlette</em>, O.F. a sergeant’s staff, <b>R</b>.</p> - -<p><em>Meris</em>, O.F. a javelin, <b>R</b>.</p> - -<p><em>Meusel</em>, Germ, see <a href="#ELB">elbow-cop</a>.</p> - -<p><em>Mezail</em>, Fr. <a href="#VIS">visor</a>.</p> - -<p><em>Miccia</em>, It. a gun-match.</p> - -<p><em>Migerat</em>, O.F. a dart or arrow, <b>R</b>.</p> - -<a name="MIN" id="MIN"></a> -<p><em>Minion</em>, a four-pounder, XVI cent.</p> - -<a name="MIS" id="MIS"></a> -<p><em>Misericorde</em>, short dagger used for the <em>coup de grâce</em>.</p> - -<p><em>Missodor</em>, O.F. a war horse, <b>R</b>.</p> - -<p><em>Mitten-gauntlet</em>, } gauntlet in which the fingers are</p> -<p><em>Mittene</em>, It. <span class="pad2">}</span> not separate.</p> - -<p><em>Moresca</em>, It. see <a href="#TAC">taces</a>.</p> - -<p><em>Morion</em>, light helmet with crest and inverted crescent brim, latter -end of XV cent.</p> - -<a name="MOR" id="MOR"></a> -<p><em>Morning star</em>, a spike-studded ball hung by a chain from a short -staff, XIV-XV cent.</p> - -<p><em>Morso</em>, It. the horse’s bit.</p> - -<p><em>Moschetto</em>, It. see <a href="#MAT">matchlock</a>.</p> - -<p><em>Mostardo</em>, a musket, <b>F</b>.</p> - -<a name="MOT" id="MOT"></a> -<p><em>Moton</em>, plates to protect the armpits, especially the right, XIV cent.</p> - -<p><em>Moulinet</em>, the windlass used for drawing the crossbow.</p> - -<p><em>Moyenne</em>, see <a href="#MIN">minion</a>.</p> - -<p><em>Murice</em>, a <a href="#CAL">caltrop</a>, <b>F</b>.</p> - -<p><em>Musacchino</em>, see <a href="#PAU">pauldrons</a>.</p> - -<p><em>Muschettæ</em>, It. projectiles used with the crossbow.</p> - -<p><em>Muserag</em>, a missile weapon of some kind, <b>F</b>.</p> - -<p><em>Musoliera</em>, It. a horse-muzzle.</p> - - -<div class="p2 pad10">N</div> - -<p><em>Nackenschirm</em>, Germ. neck-plate at the back of an armet.</p> - -<p><em>Naide</em>, anvil.</p> - -<p><em>Naitoules</em>, some appliance for closing rivets.</p> - -<p><em>Nasal</em>, 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.</p> - -<p><em>Neighletts</em>, the metal tags of the arming-points.</p> - -<p><em>Nowchys</em>, embossed buckles and ornaments for armour, XV cent.</p> - -<p><em>Noyeau</em>, the core of a gun.</p> - - -<div><a name="GL_O" id="GL_O"></a></div> -<div class="p2 pad10">O</div> - -<p><em><ins class="corr" title="Transcriber's Note—Original text: 'Oberarmzeng'">Oberarmzeug</ins></em>, Germ. <a href="#RER">rerebrace</a>.</p> - -<p><em>Occularium</em>, the eye-slit in the helm.</p> - -<p><em>Oreillettes</em>, ear-pieces, found in the later forms of the <a href="#CAS">casque</a> and <a href="#BUR">burgonet</a>.</p> - -<a name="ORL" id="ORL"></a> -<p><em>Orle</em>, the wreath or twisted scarf worn on the helmet immediately -beneath the crest.</p> - -<p><em>Oriflamme</em>, the ancient banner of the Abbey of S. Denis used by -the kings of France.</p> - -<p><em>Ospergum</em>, see <a href="#HAU">hauberk</a>.</p> - -<p><em>Ottone</em>, It. brass or latten, used for edging armour, etc., <b>F</b>.</p> - - -<div class="p2 pad10">P</div> - -<p><em>Paefustum</em>, a battle-axe, XV cent.</p> - -<p><em>Palet</em>, a small skull-cap of <a href="#CUB">cuir-bouilly</a> or steel.</p> - -<p><em>Palettes</em>, circular plates to protect the armpits.</p> - -<p><em>Panart</em>, O.F., a large knife, <b>R</b>.</p> - -<p><em>Panache</em>, Fr. the plume of feathers on the helmet.</p> - -<p><em>Pansier</em>, Fr. the lower portion of the <a href="#CUR">cuirass</a> when it is formed of two pieces.</p> - -<p><em>Panzer</em>, body-armour, XI-XIV cent.</p> - -<p><em>Panziera</em>, It. see <a href="#COD">codpiece</a>.</p> - -<p><em>Parement</em>, a surcoat or ceremonial dress of rich fabric.</p> - -<p><em>Parma</em>, It. a small shield or buckler.</p> - -<a name="PAZ" id="PAZ"></a> -<p><em>Partigiana</em>, It. { a long-shafted weapon with broad-pointed blade,</p> -<p><em>Partizan</em>, <span class="pad2">{</span> in form allied to the pike and the halbert.</p> - -<p><em>Partlet</em>, O.E. <a href="#GOR">gorget</a>, <b>F</b>.<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span></p> - -<p><em>Pas d’âne</em>, Fr. loops of bar steel immediately over the cross-hilt of the sword.</p> - -<p><em>Pasguard</em>, a reinforcing piece for the left elbow, used in tilting.</p> - -<p><em>Passe-garde</em>, Fr. the French, following Meyrick, use this word -<em>wrongly</em> for neck-guards.</p> - -<p><em>Passadoux</em>, a Gascon arrow, <b>C</b>.</p> - -<p><em>Passe</em>, the rack for stringing the crossbow, <b>C</b>.</p> - -<p><em>Passot</em>, O.F. a dagger, <b>R</b>.</p> - -<p><em>Patelet</em>, a padded vest worn under armour, XVI cent.</p> - -<p><em>Patrel</em>, see <a href="#POI">poitrel</a>.</p> - -<p><em>Patron</em>, a case for pistol cartridges.</p> - -<p><em>Patula</em>, a short sword or dagger.</p> - -<a name="PAU" id="PAU"></a> -<p><em>Pauldrons</em>, shoulder-pieces of plate.</p> - -<p><em>Pavade</em>, a long dagger.</p> - -<a name="PAV" id="PAV"></a> -<p><em>Pavache</em>, Fr. <span class="pad4">}</span></p> -<p><em>Pavesche</em>, <span class="pad5">}</span> a large shield used by bowmen.</p> -<p><em>Pavise</em>, <span class="pad6">}</span></p> -<p><em>Pavois d’assout</em>, O.F. }</p> - -<p><em>Pavon</em>, a large triangular flag.</p> - -<p><em>Peascod</em>, a form of breastplate made with a central ridge, and -pointed slightly downward at the lower extremity, XVII cent.</p> - -<p><em>Pectoral</em>, a breast defence of mail. See also <a href="#PEY">peytral</a>.</p> - -<p><em>Pell</em>, } a sharpened stake used by the Norman peasants.</p> -<p><em>Pill</em>, }</p> - -<p><em>Pellegrina di maglia</em>, It. mail cape or collar.</p> - -<p><em>Pennacchiera</em>, It. } see <a href="#POP">porte-panache</a>.</p> -<p><em>Penacho</em>, Sp. <span class="pad2">}</span></p> - -<p><em>Pennon</em>, a pointed banner used by knights bachelor and esquires.</p> - -<p><em>Pentina</em>, O.I. a short <a href="#PIK">pike</a>, <b>F</b>.</p> - -<p><em>Pertuisan</em>, Fr. <a href="#PAZ">partizan</a>.</p> - -<p><em>Peto</em>, Sp. breastplate.</p> - -<p><em>Petail matres</em>, a large-headed dart or arrow, <b>R</b>.</p> - -<p><em>Petronel</em>, a short firearm fired with a flint or pyrites (the common -explanation that it was discharged held at the chest is erroneous).</p> - -<p><em>Pettiera</em>, It. see <a href="#PEY">peytral</a>.</p> - -<p><em>Petto</em>, It. breastplate.</p> - -<a name="PEY" id="PEY"></a> -<p><em>Peytral</em>, the breastplate of a horse.</p> - -<p><em>Pezonaras</em>, Sp. see <a href="#BOS">bossoirs</a>.</p> - -<p><em>Pfeifenharnisch</em>, Germ. embossed armour to imitate -puffed silk or velvet, XVI cent.</p> - -<p><em>Pheon</em>, a barbed javelin used by the sergeant-at-arms.</p> - -<p><em>Picca</em>, It. see <a href="#PIK">pike</a>.</p> - -<p><em>Picière</em>, Fr. see <a href="#PEY">peytral</a>.</p> - -<p><em>Pieces of advantage</em>, reinforcing pieces for the joust.</p> - -<p><em>Pied de biche</em>, Fr. see <a href="#GOA">goat’s-foot lever</a>.</p> - -<p><em>Pied de chèvre</em>, a crowbar.</p> - -<a name="PIK" id="PIK"></a> -<p><em>Pike</em>, 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.</p> - -<p><em>Pike-guard</em>, a ridge of metal set upright on the <a href="#PAU">pauldrons</a>, on the -left side, erroneously called pasguard.</p> - -<p><em>Pile</em>, the head of the arrow.</p> - -<p><em>Pistolese</em>, a large dagger or knife, <b>F</b>.</p> - -<a name="PIZ" id="PIZ"></a> -<p><em>Pizane</em>, Fr. breastplate.</p> - -<a name="PLA" id="PLA"></a> -<p><em>Placard</em>, } a reinforcing breastplate, XVI-XVII cent.</p> -<p><em>Placcate</em>, }</p> - -<p><em>Plater</em>, the maker of armour plates as distinct from the armourer -who made up the plates into armour.</p> - -<p><em>Platner</em>, Germ. armourer.</p> - -<p><em>Plastron</em>, the upper portion of the <a href="#CUR">cuirass</a> when it is formed of two pieces.</p> - -<p><em>Plastron-de-fer</em>, a defence of plate, usually circular, worn on the -breast under or over the <a href="#HAU">hauberk</a>.</p> - -<p><em>Plates, Pair of</em>, back and breast plates, XIV-XV cent.</p> - -<p><em>Platine</em>, Fr. the lock of a firelock.</p> - -<p><em>Plommée</em>, Fr. a leaden mace; also <a href="#HOL">holy-water sprinkler</a>.</p> - -<p><em>Poignard</em>, a dagger.</p> - -<p><em>Poinçon</em>, the stamp or trade-mark of the armourer.</p> - -<p><em>Points</em>, laces for securing the <a href="#GUS">gussets</a> of mail to the undergarment, -and also the lambrequin to the helm.</p> - -<a name="POR" id="POR"></a> -<p><em>Poire</em>, Fr. a pear-shaped button through which the laces passed that -held the shield to the left breast, XVI cent.</p> - -<a name="POI" id="POI"></a> -<p><em>Poitrel</em>, breast-armour for a horse.</p> - -<a name="POL" id="POL"></a> -<p><em>Poldermitton</em>, a defence for the inner bend of the right arm, used in the joust.</p> - -<a name="POA" id="POA"></a> -<p><em>Pole-axe</em>, a long-shafted axe with beak and spear point.</p> - -<a name="POY" id="POY"></a> -<p><em>Poleynes</em>, see <a href="#KNC">knee-cops</a>, XIII-XIV cent.</p> - -<p><em>Polion</em>, some part of the crossbow.</p> - -<p><em>Pommel</em>, the finishing knob of the sword-grip; also the fore peak of the saddle.</p> - -<p><em>Pompes</em>, see <a href="#POY">poleynes</a>.</p> - -<p><em>Pontale</em>, the chape of a sword or dagger; also the tag on an -arming-point or lance, <b>F</b>.</p> - -<a name="POP" id="POP"></a> -<p><em>Porte-panache</em>, Fr. the plume-holder on the helmet.</p> - -<p><em>Posolino</em>, It. see <a href="#CRR">croupière</a>.</p> - -<p><em>Pot</em>, a broad-brimmed helmet worn by pikemen, XVII cent.<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p> - -<a name="POU" id="POU"></a> -<p><em>Poulaine, À la</em>, sollerets with extremely pointed toes, XIV cent.</p> - -<p><em>Pourpoint</em>, a padded and quilted garment of leather or linen.</p> - -<p><em>Pourpointerie</em>, quilted material with metal studs at the -intersection of the quilting seams.</p> - -<p><em>Pryke-spur</em>, a spur with a single point and no rowel.</p> - -<p><em>Pugio</em>, } It. a small dagger.</p> -<p><em>Pugnale</em>, }</p> - -<p><em>Pully-pieces</em>, } see <a href="#POY">poleynes</a>.</p> -<p><em>Putty-pieces</em>, }</p> - -<p><em>Pusane</em>, } see <a href="#PIZ">pizane</a>.</p> -<p><em>Puzane</em>, }</p> - - -<div class="p2 pad10">Q</div> - -<p><em>Quadrelle</em>, It. a small mace with leaf-like projections, also quarrel.</p> - -<a name="QUA" id="QUA"></a> -<p><em>Quarrel</em>, the bolt or projectile used with the crossbow.</p> - -<p><em>Quetyll</em>, O.E. a knife.</p> - -<p><em>Queue</em>, a projecting hook on the back-piece of the cuirass to take -the butt-end of the lance when held in rest.</p> - -<p><em>Quijotes</em>, Sp. see <a href="#CUS">cuisse</a>.</p> - -<a name="QUI" id="QUI"></a> -<p><em>Quillions</em>, the cross-hilt of the sword.</p> - - -<div class="p2 pad10">R</div> - -<p><em>Raillon</em>, O.F. a kind of arrow, <b>R</b>.</p> - -<p><em>Rainoise</em>, an unknown type of <a href="#ARQ">arquebus</a>.</p> - -<p><em>Ranfort</em>, the reinforce ring of a cannon.</p> - -<a name="RAN" id="RAN"></a> -<p><em>Ranseur</em>, a large trident with sharpened blades set on a long shaft; -a species of partizan.</p> - -<p><em>Rennen</em>, German jousting courses with sharp spear-head.</p> - -<p><em>Rennhutschraube</em>, Germ. see <a href="#CRE">crête-échelle</a>.</p> - -<a name="RER" id="RER"></a> -<p><em>Rerebrace</em>, armour for the upper arm.</p> - -<p><em>Rest of advantage</em>, some detail of armour forbidden in jousts of the -XVI cent.; possibly some kind of lance-rest.</p> - -<p><em>Resta</em> <span class="pad6"> }</span> lance-rest.</p> -<p><em>Restra de muelle</em>, Sp. }</p> - -<p><em>Ricasso</em>, the squaring of the base of the sword-blade next above -the quillons.</p> - -<a name="RIM" id="RIM"></a> -<p><em>Ringed mail</em>, formed of flat rings sewn side by side on a tunic of -leather or quilted linen, XI cent.</p> - -<p><em>Rivet</em>, a suit of armour; afterwards the small nails that hold it together.</p> - -<p><em>Rochet</em>, the blunt lance-point for jousting.</p> - -<p><em>Rodete</em>, O.F. a spur, <b>R</b>.</p> - -<p><em>Roelle</em>, O.F. a buckler or small shield.</p> - -<p><em>Roncone</em>, It. see <a href="#GIS">gisarme</a>.</p> - -<a name="ROD" id="ROD"></a> -<p><em>Rondache</em>, a circular shield, XV-XVI cent.</p> - -<a name="RON" id="RON"></a> -<p><em>Rondel</em>, <span class="pad2"> }</span> circular plate protecting the armpit;</p> -<p><em>Rondelle</em>, Fr. } also at the back of early armets.</p> - -<p><em>Rondel of the guard</em>, possibly a <a href="#VMP">vamplate</a>.</p> - -<p><em>Ross-stirn</em>, Germ. see <a href="#CHM">chamfron</a>.</p> - -<p><em>Rodela</em>, <span class="pad1">}</span> a circular shield.</p> -<p><em>Rotela</em>, It. }</p> - -<p><em>Rotellina da bracciale</em>, It. <a href="#RON">rondel</a>.</p> - -<p><em>Rüchenstück</em>, Germ. back-plate of the <a href="#CUR">cuirass</a>.</p> - -<p><em>Rüsthaken</em>, Germ. lance-rest.</p> - -<p><em>Rustred mail</em>, see <a href="#BAM">banded mail</a> (Meyrick).</p> - -<p><em>Rustung</em>, Germ. armour.</p> - - -<div class="p2 pad10">S</div> - -<p><em>Sabataynes</em>, } O.E. see <a href="#SOL">sollerets</a>.</p> -<p><em>Sabatons</em>, }</p> - -<p><em>Sacheboute</em>, O.F. a horseman’s lance, <b>R</b>.</p> - -<p><em>Sagetta</em>, a <a href="#CAS">casque</a> or helmet, <b>F</b>.</p> - -<a name="SAL" id="SAL"></a> -<p><em>Salade</em>, } helmet with wide brim at the back, worn</p> -<p><em>Salett</em>, } with or without <a href="#VIS">visor</a> and <a href="#MEN">mentonière</a>,</p> -<p><em>Sallad</em>, } XVI cent.</p> - -<p><em>Sautoir</em>, O.F. stirrup.</p> - -<p><em>Sbalzo</em>, It. see <a href="#CES">cesello</a>.</p> - -<p><em>Scarpa a becco d’anatra</em>, It. see <a href="#BEP">bear-paw</a>.</p> - -<p><em>Scarpa a punta articolata</em>, It. see <a href="#POU">poulaine</a>.</p> - -<p><em>Scarpa a piè d’orso</em>, It. see <a href="#BEP">bear-paw</a>.</p> - -<p><em>Scarsellone</em>, It. see <a href="#TAS">tasset</a>.</p> - -<p><em>Schale</em>, } Germ. <a href="#SAL">sallad</a>.</p> -<p><em>Schalern</em>, }</p> - -<p><em>Schamkapsel</em>, Germ. see <a href="#BRV">bravette</a>.</p> - -<p><em>Scheitelstuck</em>, Germ. skull of the helmet.</p> - -<p><em>Schembart</em>, Germ. the lower part of the <a href="#VIS">visor</a>, the <a href="#VEN">ventail</a>.</p> - -<p><em>Schenkelschiene</em>, Germ. see <a href="#CUS">cuishe</a>.</p> - -<p><em>Schiavona</em>, It. a basket-hilted cut-and-thrust sword.</p> - -<p><em>Schiena</em>, It. the back-plate of the <a href="#CUR">cuirass</a>.</p> - -<p><em>Schiessprügel</em>, Germ, see <a href="#HOL">holy-water sprinkle</a>.</p> - -<p><em>Schiniere</em>, It. see <a href="#JAM">jambs</a>.</p> - -<p><em>Schioppo</em>, O.I. a dag or pistol, <b>F</b>.</p> - -<p><em>Schlaeger</em>, Germ. student’s fencing-sword.</p> - -<p><em>Schulterschild</em>, Germ. see <a href="#GRG">grand-guard</a>.</p> - -<p><em>Schulterschild mit Rand</em>, Germ. a <a href="#PAU">pauldron</a> with neck-guard attached.</p> - -<p><em>Schwanzel</em>, <span class="pad4">}</span> Germ. the tail-guard of a horse.</p> -<p><em>Schwanzriempanzer</em>, }</p> - -<p><em>Schwebescheibe</em>, Germ. see <a href="#VMP">vamplate</a>.</p> - -<p><em>Sciabola</em>, It. sabre.</p> - -<p><em>Scudo</em>, It. a triangular shield.<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span></p> - -<p><em>Scure d’arme</em>, It. battle-axe.</p> - -<p><em>Seax</em>, a dagger.</p> - -<a name="SEC" id="SEC"></a> -<p><em>Secreta</em>, } a thin steel cap worn under the hat, XVI-XVII cent.</p> -<p><em>Secrete</em>, }</p> - -<p><em>Sella d’arme</em>, It. war-saddle.</p> - -<p><em>Semitarge</em>, O.F. a scimitar, <b>R</b>.</p> - -<p><em>Serpentina</em>, It. the cock of a matchlock.</p> - -<p><em>Setzschild</em>, Germ. see <a href="#PAV">pavise</a>.</p> - -<p><em>Shaffron</em>, see <a href="#CHM">chamfron</a>.</p> - -<p><em>Sharfrennen</em>, Germ. variety of joust with sharp-pointed lances, XVI cent.</p> - -<p><em>Sharfrennentarsche</em>, Germ. a shield-like reinforcing piece for the above joust.</p> - -<p><em>Shell-guard</em>, a form of sword-guard.</p> - -<p><em>Sfondagiaco</em>, It. see <a href="#MIS">misericorde</a>.</p> - -<p><em>Sisarmes</em>, see <a href="#GIS">gisarme</a>.</p> - -<p><em>Slaughsword</em>, a two-hand sword carried by the <a href="#WHI">whiffler</a>, IV cent.</p> - -<p><em>Sliding rivet</em>, a rivet fixed on the upper plate and moving in a -slot on the lower plate.</p> - -<p><em>Snaphaunce</em>, an early form of flint-lock in which the pan has to -be uncovered before firing.</p> - -<p><em>Sockets</em>, a thigh-defence similar to the German <a href="#DIE">diechling</a>.</p> - -<p><em>Soffione</em>, It. a musket or <a href="#CAV">caliver</a>.</p> - -<a name="SOL" id="SOL"></a> -<p><em>Sollerets</em>, shoes of laminated plate, usually pointed.</p> - -<p><em>Spada</em>, It. sword.</p> - -<p><em>Spadone</em>, It. a long sword.</p> - -<p><em>Spadroon</em>, flat-bladed sword for cut-and-thrust.</p> - -<p><em>Spallacci</em>, It. <a href="#PAU">pauldrons</a>.</p> - -<p><em>Spallière</em>, Fr. see <a href="#PAU">pauldrons</a>.</p> - -<p><em>Spasmo</em>, O.It. a dart or javelin, <b>F</b>.</p> - -<p><em>Spetum</em>, } see <a href="#RAN">ranseur</a>.</p> -<p><em>Spiede</em>, It. }</p> - -<p><em>Spight</em>, a short or flight arrow.</p> - -<p><em>Spigo</em>, O.It. the plume-holder of a helmet, <b>F</b>.</p> - -<p><em>Splint armour</em>, narrow overlapping plates as opposed to armour made -of large plates.</p> - -<p><em>Spright</em>, a wooden arrow discharged from a gun.</p> - -<p><em>Springal</em>, see <a href="#ESP">espringale</a>.</p> - -<a name="SPO" id="SPO"></a> -<p><em>Spontoon</em>, a half-pike carried by officers, XVIII cent.</p> - -<p><em>Squarcina</em>, O.It. a short sword or cutlass, <b>F</b>.</p> - -<p><em>Staffa</em>, It. stirrup.</p> - -<a name="STA" id="STA"></a> -<p><em>Standard of mail</em>, a collar of chain mail, XV cent.</p> - -<p><em>Stecca</em>, It. the locket of a dagger.</p> - -<p><em>Steccata</em>, It. the place of combat for duels.</p> - -<p><em>Stechhelm</em>, Germ. heavy tilting-helm.</p> - -<p><em>Stechen</em>, Germ. jousting course with coronal-tipped lances.</p> - -<p><em>Stechtarsche</em>, Germ. a ribbed tilting-shield used in the “gestech” courses.</p> - -<p><em>Stinchieri</em>, O.It. armour for the shin, <b>F</b>.</p> - -<p><em>Stirnstulp</em>, Germ. the upper part of the <a href="#VIS">visor</a> of an <a href="#AMT">armet</a>.</p> - -<p><em>Stithe</em>, O.E. anvil.</p> - -<p><em>Striscia</em>, It. rapier.</p> - -<p><em>Sturmhaube</em>, Germ. see <a href="#BUR">burgonet</a>.</p> - -<p><em>Sturmwand</em>, Germ. see <a href="#PAV">pavise</a>.</p> - -<p><em>Supeters</em>, O.E. see <a href="#SOL">sollerets</a>.</p> - -<a name="SUR" id="SUR"></a> -<p><em>Surcoat</em>, a garment worn over the armour to protect it from sun and -rain, and usually blazoned heraldically.</p> - -<a name="SWO" id="SWO"></a> -<p><em>Sword-breaker</em>, a short heavy sword with back edge toothed for -breaking opponent’s sword, XVI cent.</p> - -<p><em>Swyn-feather</em>, see <a href="#FES">feather-staff</a>.</p> - - -<div class="p2 pad10">T</div> - -<p><em>Tabard</em>, the armorially emblazoned coat worn by heralds; see also <a href="#SUR">surcoat</a>.</p> - -<a name="TAC" id="TAC"></a> -<p><em>Taces</em>, laminated plates at the lower edge of the <a href="#CUR">cuirass</a>.</p> - -<p><em>Tache</em>, O.E. strap.</p> - -<p><em>Talevas</em>, Sp. shield.</p> - -<p><em>Tapul</em>, the vertical ridge in the centre of some forms of breast-piece.</p> - -<p><em>Tarcaire</em>, O.F. a quiver, <b>R</b>.</p> - -<p><em>Targe</em>, a small circular shield.</p> - -<p><em>Tarques</em>, O.F. some kind of engine of war, <b>R</b>.</p> - -<p><em>Tartsche</em>, Germ. a small shield or targe.</p> - -<p><em>Tartschen</em>, Germ. see <a href="#AIL">ailettes</a>.</p> - -<a name="TAS" id="TAS"></a> -<p><em>Tassets</em>, plates, usually lozenge-shaped, attached by strap and -buckle to the taces to protect the upper or front surface of the thigh.</p> - -<p><em>Taurea</em>, O.It. a buckler of bull’s hide, <b>F</b>.</p> - -<p><em>Tegulated armour</em>, overlapping tile-like square plates, end of -XII cent. (Meyrick).</p> - -<p><em>Tertiare</em>, to “third” the <a href="#PIK">pike</a>, i.e. to shorten either for -shouldering or for receiving cavalry.</p> - -<p><em>Tesa</em>, It. the shade or brim of the <a href="#BUR">burgonet</a>.</p> - -<a name="TES" id="TES"></a> -<p><em>Tester</em>, O.E. } see <a href="#CHM">chanfron</a>.</p> -<p><em>Testiera</em>, It. }</p> - -<p><em>Testière</em>, Fr. a metal skull-cap; also the <a href="#CHM">chanfron</a> of a horse.</p> - -<p><em>Têtrière</em>, Fr. see <a href="#TES">tester</a>.</p> - -<p><em>Thyrtel</em>, } O.E. knife or dagger.</p> -<p><em>Thwyrtel</em>, }</p> - -<a name="TIL" id="TIL"></a> -<p><em>Tilt</em>, the barrier used to separate knights when jousting, XIV cent. -and onwards; first, a stretched cloth; later, of wood.</p> - -<p><em>Timbre</em>, Fr. the skull of a helmet.<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p> - -<p><em>Tiloles, Arbalest à</em>, Fr. windlass crossbow.</p> - -<a name="TOG" id="TOG"></a> -<p><em>Toggle</em>, the cross-bar of a boar-spear. In modern use a button for -joining two ends of a strap or thong.</p> - -<p><em>Toile</em>, see <a href="#TIL">tilt</a>.</p> - -<p><em>Tolys</em>, O.E. tools.</p> - -<p><em>Touch-box</em>, probably a box for flint and steel carried by the musket.</p> - -<p><em>Tourney</em>, <span class="pad2">{</span> a contest of many knights in the lists as opposed</p> -<p><em>Tournois</em>, Fr. { to the joust or single combat at barriers.</p> - -<p><em>Tournicle d’eschaille</em>, Fr. a small tunic or a large <a href="#GOR">gorget</a> composed -of overlapping scale armour.</p> - -<p><em>Toyle</em>, a contrivance fixed over the right <a href="#CUS">cuisse</a> to hold the lance -when carried upright; a lance bucket.</p> - -<p><em>Trubrico</em>, Sp. blunderbuss.</p> - -<p><em>Traguardo</em>, It. see <a href="#VIS">visor</a>.</p> - -<p><em>Trapper</em>, horse-trappings of fabric or mail.</p> - -<p><em>Trellised armour</em>, quilted linen or leather with leather bands sewn -trellis-wise and having studs of metal in the trellis openings (Meyrick).</p> - -<p><em>Tresses</em>, plaited laces or arming-points.</p> - -<p><em>Trilobed scales</em>, triple scales in one piece sewn upon the <a href="#BRI">brigandine</a>.</p> - -<p><em>Trombone</em>, It. a heavy pistol, blunderbuss.</p> - -<p><em>Trousse</em>, Fr. a quiver.</p> - -<p><em>Trumelière</em>, Fr. see <a href="#JAM">jamb</a>.</p> - -<p><em>Tuck</em>, see <a href="#EST">estoc</a>.</p> - -<p><em>Tuile</em>, Fr. see <a href="#TAS">tassets</a>.</p> - -<p><em>Tuilette</em>, Fr. small <a href="#TAS">tassets</a> as on tomb of Rich. Beauchamp, Earl of Warwick.</p> - -<p><em>Turcasso</em>, It. quiver.</p> - -<p><em>Turves</em>, probably a turban or <a href="#ORL">orle</a> worn on the helmet.</p> - - -<div class="p2 pad10">U</div> - -<p><em>Umbo</em>, the boss upon a shield.</p> - -<p><em>Umbril</em>, the shade or brim of head-pieces of XVII cent.</p> - -<p><em>Uncin</em>, war pickaxe.</p> - -<p><em>Uncino</em>, O.It. a broad-pointed arrow, a hook, <b>F</b>.</p> - -<p><em>Unterarmzeug</em>, Germ. <a href="#VAM">vambrace</a>.</p> - -<p><em>Usbergo</em>, O.It. breastplate, <a href="#VMP">vamplate</a>, <b>F.</b></p> - - -<div class="p2 pad10">V</div> - -<a name="VAM" id="VAM"></a> -<p><em>Vambrace</em>, the plate defence for the fore-arm.</p> - -<a name="VMP" id="VMP"></a> -<p><em>Vamplate</em>, a circular shield through which the tilting and war -lances were fixed above the grip.</p> - -<p><em>Vedoil</em>, a weapon used by foot-soldiers, possibly a <a href="#VOU">voulge</a>.</p> - -<p><em>Velette</em>, O.It. a horse-soldier’s coat, <b>F</b>.</p> - -<p><em>Venetian sallad</em>, a sallad of the XV-XVI cent.; formed like the -ancient Greek helmet with fixed <a href="#VIS">visor</a>, but evolved from the <a href="#BAS">bascinet</a>.</p> - -<a name="VEN" id="VEN"></a> -<p><em>Ventaglio</em>, It. } the lower part of the <a href="#VIS">visor</a> when it is</p> -<p><em>Ventail</em>, Fr. } made in two parts.</p> -<p><em>Ventalle</em>, Sp. }</p> - -<p><em>Vervelles</em>, the staples on the <a href="#BAS">bascinet</a> to which the carvail was laced.</p> - -<p><em>Vireton</em>, an arrow for the crossbow with curving wings, to produce -a spinning motion.</p> - -<a name="VIS" id="VIS"></a> -<p><em>Visera</em>, It. } that part of the helmet, movable or fixed,</p> -<p><em>Visor</em>, <span class="pad2">}</span> which protects the eyes.</p> -<p><em>Vista</em>, Sp. }</p> - -<p><em>Volant-piece</em>, reinforcing piece for the tilt to protect the breast -and lower half of the face; possibly a spring breastplate.</p> - -<p><em>Volet</em>, the round disc at the back of the <a href="#AMT">armet</a>.</p> - -<p><em>Volet</em>, Fr. an arrow or dart.</p> - -<p><em>Vor-arm</em>, Germ. see <a href="#VAM">vambrace</a>.</p> - -<p><em>Vorderfluge</em>, Germ. the front plate of the <a href="#PAU">pauldron</a>.</p> - -<p><em>Vorhelm</em>, Germ. see <a href="#PLA">placcate</a>.</p> - -<a name="VOU" id="VOU"></a> -<p><em>Voulge</em>, a weapon somewhat similar to the Lochaber axe; used mostly -by the peasants.</p> - -<p><em>Voyders</em>, see <a href="#GUS">gussets</a>.</p> - -<p><em>Voyding knife</em>, a knife for disembowelling deer.</p> - -<p><em>Vuiders</em>, } see <a href="#GUS">gussets</a>.</p> -<p><em>Vuyders</em>, }</p> - - -<div class="p2 pad10">W</div> - -<p><em>Wafter</em>, English dummy blade for fencing, XVI cent.</p> - -<p><em>Wambais</em>, see <a href="#GAM">gambeson</a>.</p> - -<p><em>Wappen rock</em>, Germ. a cloak decorated heraldically.</p> - -<p><em>Welsches gestech</em>, German name for the Italian course of jousting -over the tilt or barrier with blunted lance.</p> - -<a name="WHI" id="WHI"></a> -<p><em>Whiffler</em>, a two-hand swordsman who cleared the way in processions.</p> - -<p><em>Wifle</em>, a practice-sword, possibly a two-hander.</p> - -<p><em>Winbrede</em>, } see <a href="#GAG">gagnepain</a>.</p> -<p><em>Wynbred</em>, }</p> - -<p><em>Wire hat</em>, see <a href="#COI">coif</a>.</p> - - -<div class="p2 pad10">Z</div> - -<p><em>Zucchetto</em>, It. a species of <a href="#BUR">burgonet</a>, XVII cent.</p> - -<p><em>Zweyhander</em>, Germ. two-handed sword.</p> -</div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span><br /> - <span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_A" id="APPENDIX_A"></a><a href="#CONTENTS">APPENDIX A</a></h2> - -<p class="pfs80">DOCUMENT FROM THE RECORDS OF THE ARMOURERS’ COMPANY, -LONDON, 1322</p> - - -<p class="noindent fs80">This is a regulation that no armourer should attempt to sell <em>Bascuettes</em> (Bascinets) -covered with fabric, but should show them uncovered, so that the workmanship -might be seen and approved.</p> - -<p class="pfs80">ARMOURERS’ COMPANY OF LONDON<br /> -Lib. C, fol. 33, 15 Edw. II, 1322</p> - -<div class="appx" lang="enm" xml:lang="enm"> - -<p>Edward ye Second<br /> -<span class="pad3">Be</span> 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.</p> - -<p>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<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -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.</p> - -<p>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.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_B" id="APPENDIX_B"></a><a href="#CONTENTS">APPENDIX B</a></h2> - -<p class="pfs80">REGULATIONS OF THE HEAUMERS, 21 EDWARD III, 1347</p> - -<p class="pfs80">City of London Letter Book F, fol. cxlii</p> - - -<p class="negin2 fs80">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:—</p> - -<div class="appx"> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> -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.</p> - -<p>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.</p> - -<p><span class="pad20pc">Wardens of the same trade chosen and sworn,</span><br /> -<span class="smcap pad60pc">Robert de Shirwode,</span><br /> -<span class="smcap pad60pc">Richard Bridde,</span><br /> -<span class="smcap pad60pc">Thomas Canoun.</span></p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_C" id="APPENDIX_C"></a><a href="#CONTENTS">APPENDIX C</a></h2> - -<p class="pfs80">TREATISE OF WORSHIP IN ARMS, BY JOHAN HILL, ARMOURER TO -HENRY VI, 1434</p> - -<p class="pfs70">TRAYTESE OF THE POYNTES OF WORSHIP IN ARMES BY JOHAN HYLL, -ARMORER SERGEANT IN THE KINGE’S ARMORY 1434</p> - -<p class="pfs70">Bod. Lib., Ashmole. MS. 856, art. 22, pp. 376–83</p> - - -<div class="appx" lang="enm" xml:lang="enm"> - -<p>[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</p> - -<p>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.</p> - -<p>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</p> - -<p>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</p> - -<p>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</p> - -<p>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.<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span> -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</p> - -<p>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<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span> -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.</p> - -<p>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<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span> -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.</p> - -<p>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.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_D" id="APPENDIX_D"></a><a href="#CONTENTS">APPENDIX D</a></h2> - -<p class="pfs80">TRAITÉ DU COSTUME MILITAIRE, 1446</p> - -<p class="pfs70"><cite>Bib. Nat., Paris</cite> (fonds Français, 1997)</p> - -<p class="pfs70">Given in full in <cite>Du Costume Militaire des Français en 1446</cite>, René de Belleval, 1866</p> - - -<div class="appx" lang="fr" xml:lang="fr"> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span> -faire est la meilleure; et pour conclusion faire ces trois pièces dessusdictes font le -heaulme entier.</p> - -<hr class="tb" /> - -<p>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.</p> - -<p>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.</p> - -<p>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 (<i lang="fr" xml:lang="fr">a touché</i>) 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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Item, depuis le code jusques au hault, cache (<em>cachant</em>) tout le tour de lespaulle -y a ung petit garde braz dune pièce, et se descent jusques sur le code quatre doiz.</p> - -<p><span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>Item, aussi oudit royaulme de France se arment de harnoys de jambes quant ilz -joustent.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Item, et lesdiz rochez sont vouluntiers de ouverture entre chascune des trois -pointes de deux doiz et demy ou trois au plus.</p> - -<p>Item, lesdictes grappes sont voulentiers plaines de petittes pointes agues (<em>aiguës</em>) -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.</p> - -<p>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.</p> - -<p>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.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_E" id="APPENDIX_E"></a><a href="#CONTENTS">APPENDIX E</a></h2> - -<p class="pfs80">EXTRACTS FROM THE ORDINANCES OF THE ARMOURERS OF ANGERS</p> - -<p class="pfs70">STATUTS DES ARMURIERS FOURBISSEURS D’ANGERS, 1448</p> - - -<div class="appx" lang="fr" xml:lang="fr"> - -<p>1. Quiconque vouldra estre armurier ou brigandinier, fourbisseur et garnisseur -d’espées et de harnois ... faire le pourra....</p> - -<p>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....</p> - -<p>3. It. et fauldra qe lesd. lames soient limees tout a l’entour a ce que tes ettoffes -durent plus largement....</p> - -<p>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.</p> - -<p>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.</p> - -<p>12. Et pareillement les atelles des fourreaux seront neufvs et de bois de fouteau -sec....</p> - -<p>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.</p> -</div> - -<p class="right"><cite>Ordonn. des rois</cite>, T. XX, p. 156, etc.</p> - -<p><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span></p> - - -<p class="p2 pfs85">AGREEMENT TO SUPPLY ARMOUR BY FOREIGN ARMOURERS IN BORDEAUX</p> - -<div class="appx" lang="fr" xml:lang="fr"> - -<p>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.</p> -</div> - -<p class="right"><cite>Arch. des B. Pyrénées</cite>, E, 302, fol. 129.</p> - - -<p class="p2 pfs85">PERMISSION GRANTED BY LOUIS XI TO FOREIGN ARMOURERS TO PRACTISE -IN BORDEAUX FOR TWENTY YEARS</p> - -<div class="appx" lang="fr" xml:lang="fr"> - -<p>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....</p> - -<p class="right"><cite>Min. dec. not. Frapier, Arch. de la Gironde, Rev. d’Aquitaine</cite>, XII, 26.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_F" id="APPENDIX_F"></a><a href="#CONTENTS">APPENDIX F</a></h2> - -<p class="pfs80">EXPENSES OF THE ROYAL ARMOURIES, <em>TEMP.</em> HENRY VIII</p> - -<p class="pfs70">Brit. Mus., Cotton., Appendix XXVIII, f. 76</p> - -<p class="pfs70">1544</p> - - -<div class="appx" lang="enm" xml:lang="enm"> - -<p>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.</p> -</div> - -<div class="p1 fs80"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdlx">In primis the Master of the Armouries fee by the year and is paid by the Customer of Cichister’s hands</td><td class="tdcz wd10">xxxi</td><td class="tdcz wd10">xi</td><td class="tdcz wd10"></td></tr> -<tr><td class="tdlx">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</td><td class="tdcz">xxviii</td><td class="tdcz">xii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item Erasmus the chief Armourer hath for his wages by the month 26/8 and is paid by the said Treasurer</td><td class="tdcz">xvii</td><td class="tdcz">vi</td><td class="tdcz">viii</td></tr> -<tr><td class="tdlx">Item Old Martyn hath 38/10 the month which is by the year</td><td class="tdcz">xxv</td><td class="tdcz">v</td><td class="tdcz">x</td></tr> -<tr><td class="tdlx">Item Mathew Dethyke hath 24/- the month which is by the year</td><td class="tdcz">xv</td><td class="tdcz">xii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item Hans Clinkedag hath 24/- the month which is by the year</td><td class="tdcz">xv</td><td class="tdcz">xii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item Jasper Kemp hath 24/- the month which is by the year</td><td class="tdcz">xv</td><td class="tdcz">xii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item the Gilders wages by the year</td><td class="tdcz"></td><td class="tdcz">xl</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item the 2 Lockyers have 20/- a month apiece which is by the year</td><td class="tdcz">xxvi</td><td class="tdcz"></td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item 1 Millman 24/- a month which is by the year</td><td class="tdcz">xv</td><td class="tdcz">xii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item for the prentice 6d. for the day</td><td class="tdcz">ix</td><td class="tdcz">x</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item for 8 bundles of steel to the said armoury for the whole year 38/- the bundle</td><td class="tdcz">xv</td><td class="tdcz">iiii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item for the costs of the house at £7 0 0 the month which is by the year</td><td class="tdcz">xxiiii</td><td class="tdcz">xi</td><td class="tdcz"></td></tr> -<tr><td class="tdlx"> </td><td class="bl"></td><td class="bl"></td><td class="bl"></td></tr> -<tr><td class="tdlx"></td><td class="bt bl"></td><td class="bt bl"></td><td class="bt bl"></td></tr> -<tr><td class="tdlx"></td><td class="tdcz">c. li.</td><td class="tdcz">s.</td><td class="tdcz">d.</td></tr> -<tr><td class="tdr">Sm.</td><td class="tdcz nowrap"> iii viii </td><td class="tdcz nowrap"> viii </td><td class="tdcz nowrap"> iiii </td></tr> -</table></div> - -<p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p> - -<div class="p2 fs80 pg-brk"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdlx">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</td><td class="tdcz wd10">clv</td><td class="tdcz wd10">xii</td><td class="tdcz wd10"></td></tr> -<tr><td class="tdlx">Item the wages of 2 millmen at 24/- the month</td><td class="tdcz">xxxi</td><td class="tdcz">iiii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item to every of the said shops 4 loads of charcoal a month at 9/- the load</td><td class="tdcz">xlvi</td><td class="tdcz">xix</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item for 16 bundles of steel to serve both shops a whole year at 38/- the bundle</td><td class="tdcz">xxx</td><td class="tdcz">viii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item 1 hide of buff leather every month for both shops at 10/- the hide</td><td class="tdcz">vi</td><td class="tdcz">x</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item for both shops 1 cowhide a month at 6/8 the hide</td><td class="tdcz">iiii</td><td class="tdcz">vi</td><td class="tdcz">viii</td></tr> -<tr><td class="tdlx">Item one 100 of iron every month for both shops at 6/8 the 100</td><td class="tdcz">iiii</td><td class="tdcz">vi</td><td class="tdcz">viii</td></tr> -<tr><td class="tdlx">Item in wispe steel for both shops every month 15 4⅛ at 4d. the lb.</td><td class="tdcz"></td><td class="tdcz">lxv</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item in wire monthly to both shops 12 lb. at 4d. lb.</td><td class="tdcz"></td><td class="tdcz">lii</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">Item in nails & buckles for both shops monthly 5/-</td><td class="tdcz"></td><td class="tdcz">lxv</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">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</td><td class="tdcz">xx</td><td class="tdcz">xvi</td><td class="tdcz"></td></tr> -<tr><td class="tdlx">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 kings Highness at £12 0 0 which amounteth in the year towards his Grace’s charge</td><td class="tdcz">c xx<br />iii iiii<br /> iiii</td><td class="tdcz"></td><td class="tdcz"></td></tr> -<tr><td class="tdlx">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</td><td class="tdcz">lxviii</td><td class="tdcz"></td><td class="tdcz"></td></tr> -</table></div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_G" id="APPENDIX_G"></a><a href="#CONTENTS">APPENDIX G</a></h2> - -<p class="pfs80">PETITION OF THE ARMOURERS OF LONDON TO QUEEN ELIZABETH</p> - -<p class="pfs70">July 13th, 1590 (Lansdowne MS. 63, 5)</p> - - -<p class="negin2 fs80">To the Right Honourable the Lords & others of the Queens Most honourable -Privie Counseil.</p> - -<div class="appx" lang="enm" xml:lang="enm"> - -<p>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:</p> - -<p>1. Armour made in this land being not good, the makers may be punished by -the laws provided for the same.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p class="pad6"> -<br /> -Launce armor compleat iii li vi s. viii d.<br /> -Corslets compleate xxx s.<br /> -Curate of proofe wth poldrons xl s.<br /> -Ordinary curate wth poldrons xxvi s. viii d.<br /> -Target of proofe xxx s.<br /> -Murrions iii s. iiii d.<br /> -Burgonetts iiii s.<br /> -</p> - -<p>Endorsed the humble petition of the Armorers of London.</p> - -<p class="pad25pc">It is signed by <span class="smcap">Richard Harford.</span></p> -<p class="pad40pc smcap">John Sewell.</p> -<p class="pad40pc smcap">Richard Woode RW.</p> -<p class="pad40pc"><span class="smcap">Wm. Pickering.</span> 13 July 1590.</p> -<p class="pad60pc">Lee to inform.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_H" id="APPENDIX_H"></a><a href="#CONTENTS">APPENDIX H</a></h2> - -<p class="pfs80">UNDERTAKING OF THE ARMOURERS’ COMPANY OF LONDON TO -MAKE CERTAIN ARMOURS EVERY SIX MONTHS AND -THE PRICES OF THE SAME</p> - -<p class="pfs70">From records of the Company dated 17th March, 1618</p> - - -<div class="appx"> - -<p>The Privy Council on the 15th of March, 1618, made inquiry:—</p> - -<p>“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?”</p> - -<p>The Company agreed to the following answer being sent:—</p> - -<p>“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.”</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdlx">The Lance Armor, containing Breast, Back, Gorget, Close Head piece, Poulderons and vambraces, Gushes, and one Gauntlett, to colored Russet, at the price of</td><td class="tdr nowrap">£4 0 0</td></tr> -<tr><td class="tdlx">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</td><td class="tdr wd20 nowrap">£2 10 0</td></tr> -<tr><td class="tdlx">The Footman’s Armor, containing Breast, Back, Gorgett, head piece, and laces, with iron joints, to be colored russet, at the price of</td><td class="tdr nowrap">£1 10 0</td></tr> -</table></div> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_I" id="APPENDIX_I"></a><a href="#CONTENTS">APPENDIX I</a></h2> - -<p class="pfs80">PROCLAMATION AGAINST EXCESSIVE USE OF GOLD AND SILVER -FOLIATE, WHICH IS TO BE CONFINED TO ARMOUR AND -ENSIGNS OF HONOUR</p> - -<p class="pfs70">S.P.D. Jac. I, cv, February 4th, 1618. Procl. Collec. 65</p> - -<p class="noindent fs80">... 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.</p> - -<p class="right padr2">Feb. 4, 1618.</p> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_J" id="APPENDIX_J"></a><a href="#CONTENTS">APPENDIX J</a></h2> - -<p class="pfs80">ERECTION OF PLATING-MILLS AT ERITH BY CAPT. JOHN MARTIN</p> - -<p class="pfs70">1624</p> - -<p class="pfs70">State Papers Domestic, Jac. I, Vol. CLXXX, 71</p> - - -<div class="appx"> - -<p>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<sup>ch</sup> for the batteringe of plaetes for all sorts of armes but dyed -before the bsiness was perfected.</p> - -<p>In the time of Queen Elizabeth Captain John Martin and myself resolvinge on -endeavors to the furtheringe so good a worke resolved y<sup>t</sup> 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<sup>r</sup> very great -chardges) and i<span class="over">m</span> ediately ther upp<span class="over">o</span> fallinge to worke in a batterie mill wch we likewise -erected nere unto Erith in Kent and in y<sup>t</sup> 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<sup>r</sup> yet be brought to teach any Englishman the true misterie of plaeting -unto this day.</p> - -<p>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<sup>tie</sup> -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<sup>t</sup> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p> - -<p>The raetes for Plaetes and armors exactly examined for the prices the strength -and lightness considered are thus reduced.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdlv">The chardge of a tun of Armor plaetes</td><td class="tdrb wd20 nowrap"> £18 0 0</td></tr> -<tr><td class="tdlv">Two chaldron of coles wt. carriage will be</td><td class="tdrb">1 12 0</td></tr> -<tr><td class="tdlv">The workmen for battering this tun of plaetes will have uppon every hundred 4/-</td><td class="tdrb">4 0 0</td></tr> -<tr><td class="tdlv">Reparation weekly for the mill</td><td class="tdrb">12 0</td></tr> -<tr><td class="tdlv">A clarke’s wages weekly</td><td class="tdrb">12 0</td></tr> -<tr><td class="tdlv">Extraordinary chardges toe & froe for carridges</td><td class="tdrb">10 0</td></tr> -<tr><td></td><td class="tdrb">———</td></tr> -<tr><td class="tdlv">These particular chardges come to</td><td class="tdrb">£25 6 0</td></tr> -</table></div> - -<p>The true chardge of all such sorts of armor as they will stand you in wt. their -severall <span class="over">p</span>portions and such apporveable goodness as we never heretofore have had.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="95%" summary=""> -<tr><td class="tdlv">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</td><td class="tdrb">5 10 0</td></tr> -<tr><td class="tdlv">The Armourers may make them wt due shape black nayle and lether them for</td><td class="tdrb">7 10 0</td></tr> -<tr><td class="tdlv">These twentie armours will yeild</td><td class="tdrb">26 0 0</td></tr> -<tr><td class="tdlv">So in these twentie armours is clerely gained the sum of</td><td class="tdrb">13 0 0</td></tr> -<tr><td class="tdlv">Fower hundred of plates will make 20 paier of curatts wt out pouldrons</td><td class="tdrb">3 12 0</td></tr> -<tr><td class="tdlv">The Armorers may <span class="over">p</span>portion them, black lether & naile them for</td><td class="tdrb">6 0 0</td></tr> -<tr><td class="tdlv">These 20 paire of curatts will yeld</td><td class="tdrb">20 0 0</td></tr> -<tr><td class="tdlv">In these 20 paire of curatts is clerely gained</td><td class="tdrb">10 8 0</td></tr> -<tr><td class="tdlv">The chardge of 20 lance armours.</td></tr> -<tr><td class="tdlv">Sixteen hundred of plaetes will make twentie lance armours wch come to</td><td class="tdrb">14 8 0</td></tr> -<tr><td class="tdlv">The Armourers may finishe them upp for fourtie shillings the armour wch comes to</td><td class="tdrb">40 0 0</td></tr> -<tr><td class="tdlv">These 20 launce armours will yeld fower pounds a piece wch amounteth unto</td><td class="tdrb">80 0 0</td></tr> -<tr><td class="tdlv">So yt in these 20 launce armours is clerely gained</td><td class="tdrb">25 12 0</td></tr> -<tr><td class="tdlv">Five hundred of plaetes will make twentie proof targetts wch will come to</td><td class="tdrb">4 10 0</td></tr> -<tr><td class="tdlv">The armourers may finishe them lether them and blacke them with all other chardges for</td><td class="tdrb">12 0 0</td></tr> -<tr><td class="tdlv">Thes targets will yeld (24s.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a>) the piece</td><td class="tdrb">26 0 0</td></tr> -<tr><td class="tdlv">In these targetts may be cleared</td><td class="tdrb">9 10 0</td></tr> -<tr><td class="tdlv"><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span> - Twelve hundred of plaetes will make 20 paire of stronge curatts with stronge capps wch will stand in</td><td class="tdrb">10 16 0</td></tr> -<tr><td class="tdlv">The Armourers may finishe them for (30s.) the paire wch amounteth unto</td><td class="tdrb">30 0 0</td></tr> -<tr><td class="tdlv">These 20 paier of stronge curatts wt their capps will yeld 4 li. the paier wch cometh toe</td><td class="tdrb">80 0 0</td></tr> -<tr><td class="tdlv">So that by these 20 paier of stronge curatts will be clerely gayned</td><td class="tdrb">39 10<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a> 0</td></tr> -<tr><td class="tdlv">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</td><td class="tdrb">98 14 0</td></tr> -<tr><td class="tdlv">And if these fower plaeters be emploied the whole year (abating one month in the year for idle dayes) it amounteth unto per ann</td><td class="tdrb wd20 nowrap">4737 li. 12 0</td></tr> -</table></div> -</div> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> An error in the original—this should be 26s.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> Should be 4s.</p> -</div></div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_K" id="APPENDIX_K"></a><a href="#CONTENTS">APPENDIX K</a></h2> - -<p class="pfs80">HALL-MARK OF THE ARMOURERS’ COMPANY</p> - -<p class="pfs70">Carolus I, ann. 7, 1631. Rymer, Vol. XIX, 309</p> - - -<div class="appx"> - -<p>“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).”</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_L" id="APPENDIX_L"></a><a href="#CONTENTS">APPENDIX L</a></h2> - -<p class="pfs80">PETITION OF THE WORKMEN ARMOURERS OF LONDON TO -THE COUNCIL</p> - -<p class="pfs70">S.P.D. Car. I, cclxxxix, 93, May, 1635</p> - - -<div class="appx"> - -<p>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.</p> -</div> - - -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p> -<p class="p6" /> - -<h2 class="no-brk bold"><a name="APPENDIX_M" id="APPENDIX_M"></a><a href="#CONTENTS">APPENDIX M</a></h2> - -<p class="pfs80">EXTRACT FROM SURVEY OF THE TOWER ARMOURY, 1660</p> - -<p class="pfs70">Harl. MS. 7457</p> - - -<div class="appxm"> - -<div class="sidenote"><em>Greenwich.</em></div> - -<p class="noindent">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.</p> - -<div class="sidenote"><em>Memorandum.</em></div> - -<p>That the severall distinguishments of the Armors and Furnitures -before mencioned, viz<sup>t</sup> 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.</p> - -<p><span class="smcap pad2">Will. Legge</span>, Master of his Majesties Armories.</p> -<p class="pad60pc"><span class="smcap">J. Robinson</span>, Lt: Ten: Toure.<br /> - <span class="smcap">Jo. Wood</span>, Barth Beale.</p> -</div> - - - <div class="chapter"></div> -<hr class="chap pg-brk" /> -<p><span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span><br /> - <span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk fs120"><a name="INDEX" id="INDEX"></a><a href="#CONTENTS">INDEX</a></h2> - - -<div class="index"> - -<p> - -<span class="pad30pc">A</span><br /> - -Alba, Duke of, <a href="#Page_132">132</a><br /> - -Albrecht, Harnischmeister, <a href="#Page_9">9</a>, <a href="#Page_134">134</a><br /> - -Almain armourers, <a href="#Page_14">14</a><br /> - -— — settle in England, <a href="#Page_16">16</a><br /> - -Almain Armourer’s Album, <a href="#Page_19">19</a>, <a href="#Page_143">143</a><br /> - -Almain rivet, <a href="#Page_52">52</a><br /> - -Amman, Jost, <a href="#Page_24">24</a>, <a href="#Page_36">36</a><br /> - -Angellucci, Major, on “proof,” <a href="#Page_63">63</a>, <a href="#Page_67">67</a><br /> - -Anvils, <a href="#Page_24">24</a><br /> - -Arbois, <a href="#Page_14">14</a>, <a href="#Page_136">136</a><br /> - -Armenia, Poisoned ore in, <a href="#Page_40">40</a><br /> - -Arming-doublet, <a href="#Page_106">106</a><br /> - -Arming-nails, <a href="#Page_52">52</a><br /> - -Arming-points, <a href="#Page_30">30</a>, <a href="#Page_109">109</a>, <a href="#Page_111">111</a><br /> - -Armour, Simplicity of English, <a href="#Page_16">16</a><br /> - -— Boxes for, <a href="#Page_82">82</a><br /> - -— cut up for lock-plates, <a href="#Page_19">19</a><br /> - -— Disuse of, <a href="#Page_116">116</a><br /> - -— Painted, <a href="#Page_80">80</a><br /> - -— reinforced on left side, <a href="#Page_52">52</a><br /> - -— Scarlet covering for, <a href="#Page_93">93</a><br /> - -— Tinned, <a href="#Page_33">33</a><br /> - -— Weights of, <a href="#Page_42">42</a>, <a href="#Page_116">116</a><br /> - -Armourers’ Company of London, <a href="#Page_120">120</a><br /> - -— — — absorb the Bladesmiths, <a href="#Page_124">124</a><br /> - -— — — and the informers Tipper and Dawe, <a href="#Page_123">123</a><br /> - -— — — employed for coin-striking, <a href="#Page_123">123</a><br /> - -— — — examine imported armour, <a href="#Page_123">123</a><br /> - -— — — Hall-mark of, <a href="#Page_124">124</a>, <a href="#Page_191">191</a><br /> - -— — — Regulations for apprentices of, <a href="#Page_124">124</a><br /> - -Armourers, Regulations for, <a href="#Page_57">57</a><br /> - -— Marks of, <a href="#Page_70">70</a><br /> - -— — Illustrations of, <a href="#Page_22">22-4</a>, <a href="#Page_36">36</a><br /> - -Arrows for proving armour, <a href="#Page_64">64</a><br /> - -Ash, Monument at, <a href="#Page_51">51</a>, <a href="#Page_106">106</a><br /> - -Ashford, Helm at, <a href="#Page_17">17</a>, <a href="#Page_18">18</a><br /> - -Ashmolean Museum, Pictures in, <a href="#Page_30">30</a>, <a href="#Page_98">98</a><br /> - -— — Leather gauntlet in, <a href="#Page_96">96</a><br /> - -— — — hat, <a href="#Page_99">99</a><br /> - - -<br /> -<span class="pad30pc">B</span><br /> - -Banded mail, <a href="#Page_46">46</a><br /> - -Barcelona, <a href="#Page_12">12</a><br /> - -Bards of leather in Tower and Armeria Reale, Turin, <a href="#Page_102">102</a><br /> - -— Painting of, <a href="#Page_98">98</a><br /> - -Barendyne helm, <a href="#Page_17">17</a>, <a href="#Page_119">119</a><br /> - -Barrel for cleaning armour, <a href="#Page_79">79</a><br /> - -Baskets for armour, <a href="#Page_81">81</a><br /> - -Battering-mills, <a href="#Page_22">22</a>, <a href="#Page_35">35</a>, <a href="#Page_188">188</a><br /> - -Beauchamp, Richard, Earl of Warwick, effigy of, <a href="#Page_15">15</a>, <a href="#Page_138">138</a><br /> - -— Pageants, <a href="#Page_15">15</a><br /> - -Belleval, Marquis de, <a href="#Page_113">113</a><br /> - -Berardi, Guigliemo, Statue of, <a href="#Page_74">74</a><br /> - -Blewbery, John, <a href="#Page_60">60</a><br /> - -— — Tools of, <a href="#Page_27">27</a>, <a href="#Page_30">30</a><br /> - -Bordeaux, <a href="#Page_12">12</a><br /> - -Bottes, Armure à, <a href="#Page_62">62</a><br /> - -— cassées, <a href="#Page_62">62</a><br /> - -Bracers for archers, <a href="#Page_101">101</a><br /> - -Bracket for sallad, <a href="#Page_56">56</a><br /> - -Bradshaw, Hat of, <a href="#Page_99">99</a><br /> - -Brampton, Nicholas, <a href="#Page_88">88</a><br /> - -Brassard, Construction of, <a href="#Page_53">53</a><br /> - -— of cuir-bouilli, <a href="#Page_100">100</a><br /> - -Brescia, <a href="#Page_13">13</a><br /> - -Breughel, Picture by, <a href="#Page_35">35</a>, <a href="#Page_92">92</a><br /> - -Brigandarius, Office of, <a href="#Page_61">61</a><br /> - -Brigandine, Construction of, <a href="#Page_29">29</a>, <a href="#Page_49">49</a><br /> - -— Marking of, <a href="#Page_71">71</a><br /> - -— Proving of, <a href="#Page_64">64</a><br /> - -— Reinforcing plates for the, <a href="#Page_50">50</a><br /> - -British Museum, Anvil and pincers in the, <a href="#Page_24">24</a><br /> - -— — Brigandine cap, <a href="#Page_30">30</a><br /> - -Brocas helm, <a href="#Page_17">17</a>, <a href="#Page_111">111</a>, <a href="#Page_119">119</a><br /> - -Buckram used for armour, <a href="#Page_86">86</a><br /> - -Buff coat, Last use of, <a href="#Page_103">103</a><br /> - -Bullato, Baltesar, <a href="#Page_16">16</a><br /> - -Burgmair, Hans, <a href="#Page_131">131</a><br /> - -Burgonet, Skilful forging of, <a href="#Page_51">51</a><br /> - -— Meyrick’s views on the, <a href="#Page_54">54</a><br /> - -Burrel, Walter, on iron-smelting, <a href="#Page_39">39</a><br /> - -Burring machine, <a href="#Page_36">36</a><br /> - -Buttin, Charles, <a href="#Page_x">x</a>, <a href="#Page_62">62</a>, <a href="#Page_68">68</a>, <a href="#Page_100">100</a><br /> - - -<br /> -<span class="pad30pc">C</span><br /> - -Calverly, Sir Hugh, discards leg-armour, <a href="#Page_115">115</a><br /> - -Camail, Construction of, <a href="#Page_45">45</a><br /> - -Camelio, Vittore, <a href="#Page_131">131</a><br /> - -Campi, Bartolomeo, <a href="#Page_37">37</a>, <a href="#Page_76">76</a>, <a href="#Page_132">132</a><br /> - -Cantoni brothers, <a href="#Page_133">133</a><br /> - -<span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span>Castile, Helmet of King of, <a href="#Page_73">73</a><br /> - -Catheloigne, <a href="#Page_13">13</a><br /> - -Cavalry, Weight of modern equipment of, <a href="#Page_119">119</a><br /> - -Cellini, Benvenuto, on damascening, <a href="#Page_76">76</a><br /> - -Chalcis, Italian armour from, <a href="#Page_18">18</a>, <a href="#Page_78">78</a><br /> - -— Brigandine-plates from, <a href="#Page_50">50</a><br /> - -Charnel, The, <a href="#Page_111">111</a><br /> - -Charles I, Armour of, <a href="#Page_76">76</a><br /> - -Charles V, <a href="#Page_2">2</a>, <a href="#Page_16">16</a>, <a href="#Page_132">132</a>, <a href="#Page_134">134</a><br /> - -Chiesa, Pompeo della, <a href="#Page_37">37</a>, <a href="#Page_140">140</a><br /> - -Christian II, Armour in Dresden of, <a href="#Page_75">75</a><br /> - -Cloueur, Demi, <a href="#Page_62">62</a><br /> - -— Haute, <a href="#Page_62">62</a><br /> - -Clous perdus, <a href="#Page_11">11</a><br /> - -Coats of fence, <a href="#Page_84">84</a>, <a href="#Page_87">87</a><br /> - -Colleoni, Pauldrons on statue of, <a href="#Page_5">5</a><br /> - -<a name="ICO" id="ICO"></a> -Colman, Coloman, <a href="#Page_133">133</a><br /> - -— Desiderius, <a href="#Page_134">134</a><br /> - -— — his rivalry with the Negrolis, <a href="#Page_16">16</a><br /> - -— Lorenz, <a href="#Page_133">133</a><br /> - -Cologne, <a href="#Page_12">12</a><br /> - -Cosson, Baron de, <a href="#Page_x">x</a>, <a href="#Page_84">84</a>, <a href="#Page_138">138</a><br /> - -Craft rules, <a href="#Page_3">3</a><br /> - -Cramer, J., <a href="#Page_44">44</a><br /> - -Cuir-bouilli, <a href="#Page_97">97</a><br /> - -Cuisse for foot-soldier, <a href="#Page_6">6</a><br /> - -Curzon, The Hon. R., <a href="#Page_96">96</a><br /> - - -<br /> -<span class="pad30pc">D</span><br /> - -D’Aubernon, Brass of Sir John, <a href="#Page_74">74</a><br /> - -Davies, Edward, <a href="#Page_48">48</a><br /> - -Dawtrey helm, <a href="#Page_119">119</a><br /> - -De Bures, Brass of Sir Robert, <a href="#Page_74">74</a><br /> - -Deforestation due to iron-smelting, <a href="#Page_58">58</a><br /> - -Derby, Earl of, brings over Milanese armourers, <a href="#Page_15">15</a><br /> - -Derrick’s <cite>Image of Ireland</cite>, <a href="#Page_48">48</a><br /> - -Dillon, Viscount, <a href="#Page_x">x</a>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>, <a href="#Page_144">144</a><br /> - -— — Ditchley accounts, <a href="#Page_19">19</a><br /> - -— — on proof of armour, <a href="#Page_66">66</a><br /> - -Dobbles, <a href="#Page_28">28</a>, <a href="#Page_104">104</a><br /> - -Doul, Dr., and the Armourers’ Company, <a href="#Page_122">122</a><br /> - -Dover Castle inventory, <a href="#Page_25">25</a>, <a href="#Page_33">33</a>, <a href="#Page_79">79</a><br /> - -Dresden, Armour in, <a href="#Page_75">75</a>, <a href="#Page_80">80</a>, <a href="#Page_134">134-7</a>, <a href="#Page_140">140</a><br /> - -Dudley, Dud, <a href="#Page_40">40</a>, <a href="#Page_41">41</a><br /> - -Dürer, Albrecht, <a href="#Page_89">89</a>, <a href="#Page_131">131</a><br /> - - -<br /> -<span class="pad30pc">E</span><br /> - -Edward II and the Armourers’ Company, <a href="#Page_121">121</a><br /> - -England, Documents relating to armourers in, <a href="#Page_57">57-60</a><br /> - -“Engraved suit,” Tower, <a href="#Page_10">10</a>, <a href="#Page_53">53</a>, <a href="#Page_74">74</a>, <a href="#Page_142">142</a><br /> - -Eyelet coats, <a href="#Page_90">90</a><br /> - -Erasmus (Kirkenor), <a href="#Page_60">60</a><br /> - -Erith, Plating-mills at, <a href="#Page_34">34</a>, <a href="#Page_188">188</a><br /> - -Estramaçon, Proof by, <a href="#Page_62">62</a><br /> - - -<br /> -<span class="pad30pc">F</span><br /> - -Fabrics imitated in armour, <a href="#Page_77">77</a><br /> - -Falkenor, Petition by, <a href="#Page_59">59</a><br /> - -Falstoffe, Inventory of Sir John, <a href="#Page_92">92</a><br /> - -Field of the Cloth of Gold, Armourers at, <a href="#Page_31">31</a><br /> - -Florence, Armourers of, <a href="#Page_14">14</a><br /> - -Fogge Helm, <a href="#Page_17">17</a><br /> - -Foulke, Roger, <a href="#Page_41">41</a><br /> - -Framlingham Castle inventory, <a href="#Page_25">25</a><br /> - -Frauenpreis, Matthaias, <a href="#Page_135">135</a><br /> - - -<br /> -<span class="pad30pc">G</span><br /> - -Galeazzo Maria Sforza, <a href="#Page_133">133</a><br /> - -Galliot de Balthasin, <a href="#Page_113">113</a><br /> - -Gambesons, Regulations for making, <a href="#Page_85">85</a><br /> - -— soaked in vinegar, <a href="#Page_92">92</a><br /> - -Garbagnus, <a href="#Page_21">21</a>, <a href="#Page_68">68</a><br /> - -Gauntlet discarded for complex sword-hilt, <a href="#Page_7">7</a><br /> - -Gaya mentions proof of armour, <a href="#Page_28">28</a>, <a href="#Page_69">69</a><br /> - -“Glancing surface,” The, <a href="#Page_3">3</a>, <a href="#Page_4">4</a><br /> - -Glazing-wheels, <a href="#Page_31">31</a><br /> - -Goodrich Court, Leather armour at, <a href="#Page_98">98</a><br /> - -— — New College armour at, <a href="#Page_65">65</a><br /> - -Gratz, Armoury at, <a href="#Page_18">18</a><br /> - -“Great Bear” anvil, <a href="#Page_35">35</a>, <a href="#Page_193">193</a><br /> - -Greenwich, Workshops at, <a href="#Page_32">32</a><br /> - -— Painting of a jack at, <a href="#Page_49">49</a><br /> - -Gresham, Steelyard of Sir Thomas, <a href="#Page_19">19</a><br /> - -Grünewalt, Hans, <a href="#Page_135">135</a><br /> - -Guiart, <a href="#Page_84">84</a><br /> - -Guidobaldo II, <a href="#Page_132">132</a><br /> - -Guise, Armour of the Duc de, <a href="#Page_65">65</a>, <a href="#Page_118">118</a><br /> - -Gustavus Adolphus, Leather coat of, <a href="#Page_88">88</a><br /> - -— — — guns of, <a href="#Page_99">99</a>, <a href="#Page_102">102</a><br /> - - -<br /> -<span class="pad30pc">H</span><br /> - -Hall-mark of the Armourers’ Company, <a href="#Page_60">60</a>, <a href="#Page_70">70</a>, <a href="#Page_120">120</a><br /> - -Hampton Court, Portrait of the Duc de Nevers at, <a href="#Page_30">30</a>, <a href="#Page_111">111</a><br /> - -Haselrigg’s “lobsters,” <a href="#Page_81">81</a><br /> - -Hastings MS. mention of padding, <a href="#Page_88">88</a><br /> - -— — regulations for undergarments, <a href="#Page_107">107</a><br /> - -— Battle of, <a href="#Page_1">1</a><br /> - -Haustement, The, <a href="#Page_111">111</a><br /> - -Hearne, his visit to Ditchley, <a href="#Page_19">19</a><br /> - -Helm for “barriers,” <a href="#Page_7">7</a><br /> - -— Fastenings for, <a href="#Page_112">112</a><br /> - -Helmet-caps, <a href="#Page_89">89</a><br /> - -Helmschmied, see <a href="#ICO">Colman</a><br /> - -Helmsmith at work, <a href="#Page_23">23</a><br /> - -Hengrave Hall inventory, <a href="#Page_48">48</a><br /> - -Henry VIII, suit for fighting on foot, <a href="#Page_57">57</a><br /> - -<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>— “Engraved” suit, <a href="#Page_10">10</a>, <a href="#Page_53">53</a>, <a href="#Page_74">74</a>, <a href="#Page_142">142</a><br /> - -Henry VIII imports armourers, <a href="#Page_16">16</a><br /> - -Henry, Prince of Wales, Armour of, <a href="#Page_11">11</a>, <a href="#Page_20">20</a>, <a href="#Page_59">59</a><br /> - -Hewitt, John, <a href="#Page_ix">ix</a>, <a href="#Page_125">125</a><br /> - -Hill, Treatise of Johan, <a href="#Page_93">93</a>, <a href="#Page_173">173</a><br /> - -Hippopotamus hide used for armour, <a href="#Page_102">102</a><br /> - -Holinshed’s description of jacks, <a href="#Page_90">90</a><br /> - -Homildon, Arrows at the battle of, <a href="#Page_38">38</a><br /> - -Hope, David le, <a href="#Page_57">57</a><br /> - -Hopfer, Daniel, <a href="#Page_136">136</a><br /> - -Horse-armour, <a href="#Page_8">8</a><br /> - -— padded, <a href="#Page_85">85</a><br /> - -— of leather, <a href="#Page_102">102</a><br /> - -— laminated, <a href="#Page_9">9</a>, <a href="#Page_134">134</a><br /> - -Horse-trappers, <a href="#Page_84">84</a><br /> - -— of leather, <a href="#Page_98">98</a><br /> - - -<br /> -<span class="pad30pc">I</span><br /> - -Infantry, Weight of modern equipment of, <a href="#Page_118">118</a>, <a href="#Page_119">119</a><br /> - -Iron mills, <a href="#Page_58">58</a><br /> - -— ore, Poisoned, <a href="#Page_40">40</a><br /> - -— Prices of, <a href="#Page_39">39</a><br /> - -Isebrook, as used by Shakespeare, <a href="#Page_38">38</a><br /> - - -<br /> -<span class="pad30pc">J</span><br /> - -Jack, Construction of, <a href="#Page_49">49</a>, <a href="#Page_50">50</a><br /> - -— Regulations of Louis XI for, <a href="#Page_87">87</a><br /> - -— stuffed with horn and mail, <a href="#Page_92">92</a><br /> - -Jacobi mentioned as master workman, <a href="#Page_66">66</a><br /> - -James II, Proclamation against use of gold and silver foliate, <a href="#Page_59">59</a>, <a href="#Page_187">187</a><br /> - -Joinville, Armour given by the Prince de, <a href="#Page_11">11</a><br /> - -Jousting, Position of rider in, <a href="#Page_5">5</a><br /> - -Jousting-armour, Construction of, <a href="#Page_7">7</a><br /> - -Jousting-helm, Occularium of, <a href="#Page_5">5</a><br /> - -— Fastenings of, <a href="#Page_112">112</a><br /> - - -<br /> -<span class="pad30pc">K</span><br /> - -<a name="KEL" id="KEL"></a> -Kelk, John, and the Armourers’ “Mannakine,” <a href="#Page_125">125</a><br /> - -Knopf, Heinrich, <a href="#Page_75">75</a><br /> - -Kugler supplies inferior metal to Seusenhofer, <a href="#Page_13">13</a>, <a href="#Page_38">38</a>, <a href="#Page_142">142</a><br /> - -Kyrkenor, Erasmus, <a href="#Page_60">60</a><br /> - - -<br /> -<span class="pad30pc">L</span><br /> - -Lames simulated by embossing, <a href="#Page_11">11</a><br /> - -<a name="LAN" id="LAN"></a> -La Noue criticizes weight of armour, <a href="#Page_117">117</a><br /> - -Leather horse-armour, <a href="#Page_102">102</a><br /> - -— guns, <a href="#Page_99">99</a>, <a href="#Page_102">102</a><br /> - -— cuisses and morion, <a href="#Page_98">98</a><br /> - -Lee, Sir Henry, Armour of, <a href="#Page_19">19</a>, <a href="#Page_144">144</a><br /> - -— — Helmet of, <a href="#Page_89">89</a>, <a href="#Page_145">145</a><br /> - -— — Trial of armour by, <a href="#Page_66">66</a><br /> - -— — Master of the Armouries, <a href="#Page_59">59</a><br /> - -Legg, Col. William, Master of the Armouries, <a href="#Page_34">34</a>, <a href="#Page_193">193</a><br /> - -“Leicester” suit in the Tower, <a href="#Page_57">57</a>, <a href="#Page_144">144</a><br /> - -Lewisham, Armoury mill at, <a href="#Page_35">35</a><br /> - -Lindsay helm, <a href="#Page_119">119</a><br /> - -Linen armourers, <a href="#Page_88">88</a>, <a href="#Page_94">94</a><br /> - -Lochner, Conrad, <a href="#Page_136">136</a><br /> - -Locking-gauntlet in Armourers’ Hall, <a href="#Page_55">55</a>, <a href="#Page_125">125</a>, <a href="#Page_145">145</a><br /> - -Locking-hooks, <a href="#Page_55">55</a>, <a href="#Page_56">56</a><br /> - -Locking-pins, <a href="#Page_55">55</a><br /> - -Louis XIV, Armour of, <a href="#Page_21">21</a><br /> - -— Proof mark on armour of, <a href="#Page_68">68</a><br /> - - -<br /> -<span class="pad30pc">M</span><br /> - -Madrid, Armour in, <a href="#Page_16">16</a>, <a href="#Page_29">29</a>, <a href="#Page_57">57</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_111">111</a>, <a href="#Page_119">119</a>, <a href="#Page_131">131-7</a>, <a href="#Page_140">140</a><br /> - -Mail cut up for gussets and sleeves, <a href="#Page_19">19</a><br /> - -— Construction of, <a href="#Page_44">44</a><br /> - -— Double, <a href="#Page_45">45</a><br /> - -— Proof of, <a href="#Page_62">62</a><br /> - -— Marking of, <a href="#Page_70">70</a><br /> - -— Painted, <a href="#Page_80">80</a><br /> - -— used at end of sixteenth century, <a href="#Page_103">103</a><br /> - -— Banded, <a href="#Page_146">146</a><br /> - -— makers, <a href="#Page_23">23</a><br /> - -Manifer, Main faire, Main de fer, <a href="#Page_x">x</a>, <a href="#Page_92">92</a><br /> - -Mantegna, Picture of S. George by, <a href="#Page_15">15</a>, <a href="#Page_138">138</a><br /> - -Mantua, Francesco di, <a href="#Page_134">134</a><br /> - -Marche, Oliver de la, mentions secret tempering for armour, <a href="#Page_67">67</a><br /> - -— — — — leather for duelling-armour, <a href="#Page_98">98</a><br /> - -Martin, John, Erection of plating-mills by, <a href="#Page_34">34</a>, <a href="#Page_188">188</a><br /> - -— — appeals for German platers, <a href="#Page_121">121</a>, <a href="#Page_188">188</a><br /> - -Mary of Burgundy, <a href="#Page_14">14</a><br /> - -Maximilian I, <a href="#Page_133">133-7</a><br /> - -Maximilian II, <a href="#Page_2">2</a>, <a href="#Page_14">14</a>, <a href="#Page_134">134</a>, <a href="#Page_136">136</a>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a><br /> - -— his theories on making armour, <a href="#Page_16">16</a>, <a href="#Page_143">143</a><br /> - -Mendlesham, Village armoury at, <a href="#Page_18">18</a>, <a href="#Page_90">90</a><br /> - -Merate brothers, <a href="#Page_14">14</a>, <a href="#Page_136">136</a><br /> - -Merchant Tailors, <a href="#Page_95">95</a><br /> - -Meyrick, Sir Samuel, <a href="#Page_ix">ix</a><br /> - -— — his theories on banded mail, <a href="#Page_48">48</a><br /> - -— — — — the burgonet, <a href="#Page_54">54</a><br /> - -Milan, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_138">138</a><br /> - -— Important factories of armour in, <a href="#Page_15">15</a><br /> - -Milanese armourers employed by Henry VIII, <a href="#Page_16">16</a>, <a href="#Page_58">58</a><br /> - -Mildmay, Sir Walter, and the Armourers’ Company, <a href="#Page_122">122</a><br /> - -“Milliner” derived from Milaner, <a href="#Page_94">94</a><br /> - -Missaglia, The, <a href="#Page_21">21</a>, <a href="#Page_137">137</a><br /> - -— Helm in the Tower by, <a href="#Page_7">7</a><br /> - -— Antonio, Marks of, <a href="#Page_50">50</a><br /> - -— — Armour by, <a href="#Page_14">14</a>, <a href="#Page_139">139</a><br /> - -— Tomaso, Armour by, <a href="#Page_138">138</a><br /> - -<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>Mola, Gasparo, <a href="#Page_139">139</a><br /> - -Montauban, Chapeaux de, <a href="#Page_12">12</a><br /> - -Moroni, Portraits by, <a href="#Page_109">109</a><br /> - -“Muhlberg” suit of Charles V, <a href="#Page_57">57</a><br /> - -Multscher, Hans, Statue of S. George by, <a href="#Page_14">14</a><br /> - -Musée d’Artillerie, Armour in, <a href="#Page_21">21</a>, <a href="#Page_57">57</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>, <a href="#Page_74">74</a>, <a href="#Page_111">111</a>, <a href="#Page_119">119</a>, <a href="#Page_136">136</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>, <a href="#Page_143">143</a><br /> - -— — Eyelet coat in, <a href="#Page_90">90</a><br /> - -— — Horse-armour in, <a href="#Page_8">8</a><br /> - -— — Leather guns in, <a href="#Page_102">102</a><br /> - - -<br /> -<span class="pad30pc">N</span><br /> - -Nasal, The, <a href="#Page_46">46</a><br /> - -Negrolis, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_75">75</a>, <a href="#Page_140">140</a><br /> - -New College, Armour from, <a href="#Page_19">19</a>, <a href="#Page_65">65</a><br /> - -New York, Anvil in Metropolitan Museum, <a href="#Page_24">24</a><br /> - -Niello-work as decoration for armour, <a href="#Page_74">74</a><br /> - -North, The Hon. Robert, describes padded armour, <a href="#Page_94">94</a><br /> - -Northumberland, Equipage of the Earl of, <a href="#Page_30">30</a>, <a href="#Page_111">111</a><br /> - - -<br /> -<span class="pad30pc">O</span><br /> - -Or San Michele, Statue of S. George in, <a href="#Page_14">14</a><br /> - -Ortolano, Picture by, <a href="#Page_30">30</a><br /> - - -<br /> -<span class="pad30pc">P</span><br /> - -Painted Chamber, Westminster, Frescoes in, <a href="#Page_8">8</a><br /> - -Passau, <a href="#Page_13">13</a><br /> - -— Mark of the city of, <a href="#Page_71">71</a><br /> - -Parkes, his fowling-piece of “Dudley ore,” <a href="#Page_41">41</a><br /> - -Passe-guard, <a href="#Page_x">x</a>, <a href="#Page_52">52</a>, <a href="#Page_92">92</a><br /> - -— wrong use of the word, <a href="#Page_x">x</a>, <a href="#Page_4">4</a><br /> - -Pauldrons, Large, <a href="#Page_5">5</a><br /> - -Pavia, Picture of the battle of, <a href="#Page_98">98</a><br /> - -Peffenhauser, Anton, <a href="#Page_11">11</a>, <a href="#Page_75">75</a>, <a href="#Page_140">140</a><br /> - -Peruzzi, Marchese, <a href="#Page_19">19</a><br /> - -Petit of Blois, <a href="#Page_76">76</a><br /> - -Petworth, Helm at, <a href="#Page_18">18</a><br /> - -Piccinino, Lucio, <a href="#Page_11">11</a>, <a href="#Page_140">140</a><br /> - -Pickering, William, <a href="#Page_20">20</a>, <a href="#Page_59">59</a>, <a href="#Page_122">122</a><br /> - -Piers Gaveston, Inventory of, <a href="#Page_73">73</a><br /> - -Pitt-Rivers Museum, Culottes and coats of fence in the, <a href="#Page_84">84</a><br /> - -Plate armour on legs, Reasons for, <a href="#Page_3">3</a><br /> - -Platers, <a href="#Page_22">22</a><br /> - -Plates, Size of, <a href="#Page_42">42</a><br /> - -Plating-mills, <a href="#Page_34">34</a>, <a href="#Page_188">188</a><br /> - -Pluvinel, De, <a href="#Page_114">114</a><br /> - -Poldermitton, The, <a href="#Page_7">7</a><br /> - -Poore, William, suggests a preservative for armour, <a href="#Page_81">81</a><br /> - -Porte de Hal Musée, Horse-cuissard in, <a href="#Page_9">9</a><br /> - -— — — Eyelet coat in, <a href="#Page_90">90</a><br /> - -Privy coats, <a href="#Page_87">87</a><br /> - -Proof of armour, <a href="#Page_62">62-72</a><br /> - -— — — by Sir Henry Lee, <a href="#Page_66">66</a><br /> - -— marks on bascinet in Tower, <a href="#Page_64">64</a><br /> - -— — on armour of Louis XIV, <a href="#Page_68">68</a><br /> - - -<br /> -<span class="pad30pc">R</span><br /> - -René, King, <a href="#Page_85">85</a>, <a href="#Page_88">88</a>, <a href="#Page_101">101</a><br /> - -Rerebrace, Construction of the, <a href="#Page_5">5</a><br /> - -Richmond at Bosworth Field, <a href="#Page_2">2</a><br /> - -Richmond, John, and the Armourers’ Company, <a href="#Page_123">123</a><br /> - -Rivets filed flat, <a href="#Page_4">4</a><br /> - -Rivet, Sliding, <a href="#Page_52">52</a>, <a href="#Page_53">53</a><br /> - -— word used for a suit of armour, <a href="#Page_52">52</a><br /> - -Robinet, the King’s tailor, <a href="#Page_82">82</a>, <a href="#Page_91">91</a><br /> - -Rogers, Prof. Thorold, <a href="#Page_38">38</a><br /> - -Rosebecque, Battle of, <a href="#Page_101">101</a><br /> - -Rudolph of Nuremberg, <a href="#Page_44">44</a><br /> - -Ryall, Henry de, <a href="#Page_94">94</a><br /> - - -<br /> -<span class="pad30pc">S</span><br /> - -S. Demetrius, Picture of, <a href="#Page_30">30</a><br /> - -S. George, Statuette by Multscher of, <a href="#Page_15">15</a><br /> - -— — at Prague of, <a href="#Page_51">51</a><br /> - -— Engravings by Dürer of, <a href="#Page_89">89</a><br /> - -S. Victor, Picture at Glasgow of, <a href="#Page_51">51</a><br /> - -S. William, Carving at Strasburg of, <a href="#Page_106">106</a><br /> - -Sallad cap, <a href="#Page_89">89</a><br /> - -— Cover for, <a href="#Page_93">93</a><br /> - -— Venetian, <a href="#Page_93">93</a><br /> - -Sanseverino, Armour of Roberto di, <a href="#Page_14">14</a><br /> - -Saulx-Tavannes, J. de, <a href="#Page_28">28</a><br /> - -Saxe, Marshal, <a href="#Page_65">65</a>, <a href="#Page_99">99</a><br /> - -Search, Right of, <a href="#Page_20">20</a>, <a href="#Page_58">58</a>, <a href="#Page_121">121</a><br /> - -Sebastian, Armour of King, <a href="#Page_75">75</a>, <a href="#Page_140">140</a><br /> - -Seusenhofers, The, <a href="#Page_141">141</a><br /> - -Seusenhofer, Conrad, <a href="#Page_10">10</a>, <a href="#Page_74">74</a>, <a href="#Page_77">77</a>, <a href="#Page_141">141</a><br /> - -— — complains of inferior metal, <a href="#Page_13">13</a><br /> - -— — his workshop described in the <cite>Weisz Künig</cite>, <a href="#Page_15">15</a><br /> - -Shrewsbury, Gild of Armourers at, <a href="#Page_59">59</a><br /> - -Sidney, Sir Philip, <a href="#Page_115">115</a><br /> - -Sigismond of Tirol, Armour of, <a href="#Page_21">21</a><br /> - -Siris bronzes, <a href="#Page_73">73</a><br /> - -Sliding rivet, Construction of, <a href="#Page_10">10</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a><br /> - -Smith, Sir John, <a href="#Page_91">91</a>, <a href="#Page_113">113</a>, <a href="#Page_145">145</a><br /> - -Solingen, <a href="#Page_13">13</a><br /> - -Solleret, Construction of, <a href="#Page_6">6</a><br /> - -— Unpractical, <a href="#Page_11">11</a><br /> - -<cite>Speculum Regale</cite>, <a href="#Page_84">84</a><br /> - -Splinted armour, <a href="#Page_49">49</a>, <a href="#Page_51">51</a><br /> - -Spring-pins, <a href="#Page_56">56</a><br /> - -Staley, E., <a href="#Page_14">14</a><br /> - -Stamps, Armourer’s, <a href="#Page_72">72</a><br /> - -<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>Stanley, John, Sergeant Armourer, <a href="#Page_26">26</a><br /> - -Staples for helms, <a href="#Page_111">111</a><br /> - -Stibbert Museum, <a href="#Page_19">19</a><br /> - -Stokes, W., <cite>The Vaulting Master</cite>, <a href="#Page_113">113</a><br /> - -Stone, Benjamin, blade-maker, <a href="#Page_60">60</a><br /> - -Sturtevant’s <cite>Metallica</cite>, <a href="#Page_63">63</a><br /> - -Surcoat, The use of, <a href="#Page_79">79</a><br /> - -Sword-pommels used for weights, <a href="#Page_19">19</a><br /> - - -<br /> -<span class="pad30pc">T</span><br /> - -Thyrkill, Richard, <a href="#Page_71">71</a><br /> - -Tilt-hammers, <a href="#Page_35">35</a>, <a href="#Page_40">40</a><br /> - -Toledo, <a href="#Page_13">13</a><br /> - -Tonlet, <a href="#Page_109">109</a><br /> - -Tools, <a href="#Page_24">24-31</a><br /> - -Topf, Jacob, <a href="#Page_143">143</a><br /> - -— — Armour by, <a href="#Page_19">19</a>, <a href="#Page_76">76</a><br /> - -— — Armour in Armourers’ Hall by, <a href="#Page_125">125</a><br /> - -— — Peculiarity of hook on armets by, <a href="#Page_21">21</a><br /> - -Toulouse, <a href="#Page_12">12</a><br /> - -Tower of London, Armour in, <a href="#Page_11">11</a>, <a href="#Page_53">53</a>, <a href="#Page_57">57</a>, <a href="#Page_74">74</a>, <a href="#Page_119">119</a>, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_145">145</a><br /> - -— — Helm by the Missaglias in, <a href="#Page_7">7</a>, <a href="#Page_64">64</a><br /> - -— — Jacks in, <a href="#Page_49">49</a><br /> - -“Toiras” armour, <a href="#Page_60">60</a><br /> - -Tresses, <a href="#Page_109">109</a><br /> - -Turin, Armeria Reale, <a href="#Page_71">71</a>, <a href="#Page_102">102</a>, <a href="#Page_141">141</a><br /> - -Tyler, Wat, destroys a jack, <a href="#Page_49">49</a><br /> - - -<br /> -<span class="pad30pc">U</span><br /> - -Undergarments, <a href="#Page_106">106</a><br /> - - -<br /> -<span class="pad30pc">V</span><br /> - -Vambrace, Construction of, <a href="#Page_6">6</a><br /> - -Van der Goes, Picture in Glasgow by, <a href="#Page_50">50</a><br /> - -<cite>Vaulting Master, The</cite>, <a href="#Page_113">113</a><br /> - -<cite>Verney Memoirs</cite>, mention of proof of armour, <a href="#Page_68">68</a><br /> - -— — — — fit of armour, <a href="#Page_105">105</a><br /> - -Versy, <a href="#Page_12">12</a><br /> - -Vervelles, <a href="#Page_46">46</a><br /> - -Vienna, Armour in, <a href="#Page_14">14</a>, <a href="#Page_133">133-41</a>, <a href="#Page_143">143</a>, <a href="#Page_145">145</a><br /> - -— Brigandine in, <a href="#Page_50">50</a><br /> - -— Helm-cap in, <a href="#Page_89">89</a><br /> - -— Helmet-covers in, <a href="#Page_93">93</a><br /> - -Vireton, <a href="#Page_64">64</a><br /> - - -<br /> -<span class="pad30pc">W</span><br /> - -Wallace helm, <a href="#Page_18">18</a>, <a href="#Page_117">117</a><br /> - -— Collection, Horse-armour in, <a href="#Page_9">9</a><br /> - -— — Armour in, <a href="#Page_134">134</a>, <a href="#Page_139">139</a>, <a href="#Page_145">145</a><br /> - -— — Bascinet and camail in, <a href="#Page_46">46</a><br /> - -— — Tools in, <a href="#Page_24">24</a><br /> - -Waller, J. G., his views on banded mail, <a href="#Page_48">48</a><br /> - -Walsingham, <a href="#Page_49">49</a><br /> - -Way, Albert, <a href="#Page_107">107</a><br /> - -<cite>Weisz Künig</cite>, <a href="#Page_15">15</a>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a><br /> - -— — Armourer’s tools figured in, <a href="#Page_28">28</a><br /> - -Westminster helm, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_119">119</a><br /> - -— Workshops in, <a href="#Page_32">32</a><br /> - -Whalebone used for gloves and jacks, <a href="#Page_100">100</a><br /> - -Whetstone, his project for light armour of proof, <a href="#Page_59">59</a><br /> - -Willars de Honnecourt, <a href="#Page_45">45</a><br /> - -William the Conqueror, <a href="#Page_1">1</a><br /> - -Willoughby, Jack of Sir John, <a href="#Page_49">49</a><br /> - -Windsor Park Tournament, <a href="#Page_29">29</a>, <a href="#Page_100">100</a><br /> - -Wire-drawing, Invention of, <a href="#Page_44">44</a><br /> - -Woolvercote, Sword-mills at, <a href="#Page_34">34</a><br /> - -Woolwich Rotunda, Tools in the, <a href="#Page_24">24</a><br /> - -— — helm, <a href="#Page_18">18</a><br /> - -— — leather guns, <a href="#Page_102">102</a><br /> - - -<br /> -<span class="pad30pc">Z</span><br /> - -Zeller, Walter, <a href="#Page_92">92</a><br /> - -Zurich, <a href="#Page_18">18</a><br /> -</p> -</div> - - -<hr class="chap pg-brk" /> -<p class="p6" /> - -<p class="pfs60"> -<span class="smcap">Printed by<br /> -William Brendon and Son, Ltd.<br /> -Plymouth</span></p> - -<p class="p6" /> - - -<hr class="chap pg-brk" /> - -<div class="transnote"> -<a name="TN" id="TN"></a> -<p><strong>TRANSCRIBER’S NOTE</strong></p> - -<p>Footnotes <span class="fnanchor">[10]</span> to <span class="fnanchor">[18]</span> have multiple anchors on <a href="#Page_25">page 25</a>.<br /> -Footnote <span class="fnanchor">[80]</span> has two anchors on <a href="#Page_63">page 63</a>.<br /> -Footnote <span class="fnanchor">[129]</span> has two anchors on <a href="#Page_119">page 119</a>.<br /> -Footnote <span class="fnanchor">[138]</span> has three anchors on <a href="#Page_127">page 127</a>.</p> - -<p>The <a href="#FP">Frontispiece</a>, <a href="#PLATE_II">Plates II</a>, <a href="#PLATE_XV">XV</a> and <a href="#PLATE_XXI">XXI</a> were -sideways in the original book, and have been rotated to display horizontally.</p> - -<p>For consistency with all other extracts from old documents, the extract -on <a href="#Page_107">page 107</a> is displayed in a smaller font.</p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Except for those changes noted below, all misspellings in the text, -and inconsistent or archaic usage, have been retained.</p> - -<p> -<a href="#Page_xiii">Pg xiii</a>: page number ‘vii’ replaced by ‘ix’.<br /> -<a href="#Page_20">Pg 20</a>: ‘often exhibition some’ replaced by ‘often exhibiting some’.<br /> -<a href="#Page_26">Pg 26</a>: ‘but the “hurthestaff”’ replaced by ‘but the “hurthestaf”’.<br /> -<a href="#Page_26">Pg 26</a>: ‘The “cottyngyr” and’ replaced by ‘The “cottyngyre” and’.<br /> -<a href="#Page_40">Pg 40</a>: ‘Gay’s Encylopædia’ replaced by ‘Gay’s Encyclopædia’.<br /> -<a href="#Page_87">Pg 87</a>: ‘seur ledii jacques’ replaced by ‘seur ledit jacques’.<br /> -<a href="#FIG48">Fig. 48</a> caption: ‘Ashmolean Musem’ replaced by ‘Ashmolean Museum’.<br /> -<a href="#Page_111">Pg 111</a>: ‘26 genouillère’ replaced by ‘26 genouillière’.<br /> -<a href="#Page_129">Pg 129</a>: ‘Grünewald, Hans’ replaced by ‘Grünewalt, Hans’.<br /> -<a href="#FIG66">Fig. 66</a>: is displayed on the right hand side of the page, to avoid -overlaying the sidenote on handheld devices. (It was displayed on the left hand side -just under the sidenote in the original book.)<br /> -<a href="#Page_151">Pg 151</a>: ‘Hans Guïnewalt’ replaced by ‘Hans Grünewalt’.<br /> -<a href="#Page_173">Pg 173</a>: ‘blank space’ replaced by ‘ ... ’.<br /> -<a href="#Page_174">Pg 174</a>: ‘blank space’ replaced by ‘ ... ’.<br /> -<br /> -<a name="JAV" id="JAV"></a> <a name="BRV" id="BRV"></a> <a name="LIS" id="LIS"></a> -<a href="#POLYGLOT_GLOSSARY">GLOSSARY</a>.<br /> -<a href="#GL_O">Section ‘O’</a>: ‘Oberarmzeng’ replaced by ‘Oberarmzeug’.<br /> -Entries for ‘javelin’ ‘bravette’ ‘lists’ are referenced but they do not exist.<br /> -<br /> -<a href="#INDEX">INDEX</a>.<br /> -There were several references to the Preface at pages ‘vii’ and ‘viii’. This -numbering was incorrect and has been changed to ‘ix’ and ‘x’.<br /> -<a href="#KEL">Kelk</a>: ‘“Manakine,” 125’ replaced by ‘“Mannakine,” 125’.<br /> -<a href="#LAN">La Noue</a>: ‘armour, 116’ replaced by ‘armour, 117’.<br /> -</p> -</div> - - - - - - - - - -<pre> - - - - - -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-h.htm or 60767-h.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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