the metropolitan museum of art. catalogue of a loan exhibition of arms and armor by bashford dean

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CATALOGUE OF A

LOAN EXHIBITION OF

ARMS AND ARMOR

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OF THIS CATALOGUE

AN EDITION OF

Z,,ao COPIES

WAS PRINTED

] ANUARY MCMXI

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ARMORER'S ANVIL AND VISE, XVI CENTURY

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THE tieit' }{,.k. MET R 0 P 0 LIT A N M USE U M -- OF ART,

.CATALOGUE OF A

LOAN EXHIBITION OF

ARMS AND ARMOR BY

BASHFORD DEAN CVI.ATOI. OF AI.MS AND AllMOI.

NEW YORK FEBRUARY THE SIXTH TO

APRIL THE SIXTEENTH

M C M XI

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OOFnUGHT, JANUARY, 1911

BY

THE MET\lOPOLITAN MUSEUM OF ART

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LIST OF LENDERS

ROBERT STERLING BLAIR

AMORY S. CARHART

BASH FORD DEAN

ROBERT W. DB FOREST

MRS. ISAAC M. DYCKMAN

WILLIAM B. OSGOOD FIBLD

GEORGE JAY GOULD

HENRY G. KEASBEY

EDWARD HUBBARD LITCHFIELD

PHILIP M. LYDIG

CLARENCB H. MACKAY

FRANK GAIR MACOMBER

AMBROSE MONBLL

J. PIBRPONT MORGAN

HOWLAND PELL

T. J. OAKLEY RHINELANDER

MRS. WILLIAM RHINBLANDER

FREDERlCK SHERMAN ROOK

CORNELIUS STEVENSON

MRS. RUTHERFURD STUYVBSANT

ALEXANDER McMILLAN WBLCH .,- /) , ,

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TABLE OF CONTENTS

LIST OF LENDERS •

TABLE OF CONTE~TS

LIST OF ILLUSTRATIONS

INTRODUCTION

CATALOGUE

Armor

Swords

Daggers

Shafted Weapons

Crossbows and Fire-arms

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vu

IX

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3

51

59

67

74

Accessories: Tapestries and Miscellaneous 82

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LIST OF ILLUSTRATIONS

~ACIHO PAGE

FRONTISPIECE. AIt.MORER'S ANVIL AND VISE.

XVI Century Title

PLATE I SPANISH AIt.MOR • About 1460 4 11 SPANISH ARMOR • " 1475 5

III ITALIAN ARMOR (on

horse-model ) " 1480 6 IV ITALIAN(?) AIt.MOR " 1480 7 v SPANISH AIt.MOR • " 1500 8

VI SPANISH AIt.MOR • " 1500 9 VII SPANISH JOUSTING ARMOR. Early

XVI Century 10

VIII EARLY MAXIMILIAN

ARMOR About 1505 11

IX MAXlMILIAN AIt.MOR " ISIO I2

X MAXIMILIAN AIt.MOR

(on horse-model) " ISI5 13

XI MAXlMILIAN ARMOR " 1525 14

XII MAXlMILIAN AIt.MOR " 1525 15

XIII LATE MAXlMILIAN

ARM OR " IS35 16

XIV GERMAN AIt.MOR " ISSO 17

XV GERMAN ARMOR " IS60 20

XVI ITALIAN AIt.MOR " 1560 21

XVII GERMAN AIt.MOR • " 1560 24

XVIII FRENCH (?) AIt.MOR " IS80 25

XIX PAPAL AIt.MOR " IS85 28

xx WALLOON ARMOR " 1585 29

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LIS T

PLATE XXI

XXII

XXIII

OF ILLUSTRATIONS

GERMAN ARMOR About

SAVOY ARD ARMOR "

CHAIN MAIL. XIV and XVI

~ACIIIC PAG&

1590 32

1610 33

Cen-

~ry ~ XXIV CHAIN MAIL. xv and XVI Cen-

tury 37 xxv ENRICHED ARMOR. XVI Century. 40

XXVI BRIGANDiNES. XV and XVI Century 41

XXVII POURPOINT. XVI Century 44 XXVIII EARLY HEAD PIECES. XI-XV Cen-

tury 45 XXIX SALADES AND ARMETS. XV Cen-

tury ·48 xxx BURGANETS. XVI Century 49

XXXI ARMETS, BURGANETS, MORIONS.

XVI Century 52

XXXII COLLETINS. XVI Century 53 XXXIII SHIELDS. XVI Century 56 XXXIV GAUNTLETS. XIV-XVI Century 57 xxxv GAUNTLETS. XVI Century 60

XXXVI REENFORCING PLATES, CHAMFRON,

SPURN AND BIT. XIV and XVI

Century 61

XXXVII HORSE ARMOR AND PARADE AR-

MOR. XVI Century 64 XXXVIII SWORDs. XVI-XVII Century 65

XXXIX "JARNAC" SWORD AND CoRONA

TION SWORD. XVI and XVII Cen-

tury 68 XL SWORD HILT, XVIII Century, and

SWORD CARRIER, XVI Century 69 X

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PLATE XLI

XLII

XLIII

XLIV

XLV

XLVI

OF ILLUSTRATIONS

DAGGERS. IX-XV Century DAGGERS. XIV-XVI Century PISTOLS. XVI-XIX Century GUNS. XVI-XIX Century POLE-ARMS. XVI-XVIII Century BIT AND POWDER HORNS. XVI-

~ACIIfO PAGE

72 73 76 77 80

XVII Century 81 XLVII SCOTTISH ARMS. XVI-XVIII Cen-

tury 84

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INTRODUCTION

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INTRODUCTION

AMONG collectors generally, arms and armor have ever been classed as objects of art-indeed, hardly in less degree than ceramics or sculptures or bronzes, a fact which perhaps a layman can scarcely appreciate, ,.since they have long been out of general view, and partly on this account not in fashion. Until the end of the eighteenth century, however, they were universally conceded to have high rank among art objects; for while they remained in almost daily use, especially among the class to which art patrons belonged, their merit could not fail to be recognized. It was, indeed, generally known that they had become an inseparable part of displays and 'ceremonies, and that the greatest artists contributed to design them.

In former times the maker of armor was given the rank of an artist rather than of an artisan. Thus Francis I, one of the greatest of art lovers, gave Negroli and Titian equal honors, and he ennobled his swordsmith, Serafino de Brescia. Certain it is that the armorer produced casques, plastrons, and shields which, even in their simpler forms, were objects of intrinsic beauty-in contours, design, color contrasts, and decoration. In fact, a detached portion of armor dating from the great period of European armor, from 1450

to 1520, has in some degree the merit of a fragment

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INTRODUCTION

of classical sculpture-not merely are its lines expressed beautifully, but one feels that art has placed within it something living. Thus a bit of armor belonging to this period bears evidence, even when lacking in ornament, of the hand of an artist, and of an artist whose material was one of the most refractory known. For the armorer, at each stage of his work, modeling in hard metal, had to be skilled in subtle processes which taxed to the fullest both his hand and his judgment. If, for example, at any stage he chanced to heat the metal to excess, his labor was in vain; with a few strokes of his hammer he might weaken his work at a critical point and render it valueless; or if he changed the fMm of an object in its beginning even by a finger's breadth, there would not remain enough material to complete the desired contour. The making of arms was, in former centuries, an art among arts, which everybody, rich and poor, appreciated in quite a technical way, but which to-day, many, even amateurs, do not understand. It is illuminating to place a bit of armor before a metal worker of exceptional ability and induce him to copy it. If he tries at all, his result is lifeless, but he is not apt to attempt a real armorer's task. There are few to-day, even among numerous faussaires, who will undertake, for example, to reproduce a morion comb. This is a ridge encircling the top of a head-piece which the armorer would emboss to a height of five or more inches, and cause it to retain at the top of the ridge the maximum strength of the casque. In fact, the ancient art of armor-making is almost extinct. There is no question that such armorers as the Missaglia of Milan and their successors, the N egroli, or the Picinini, were among the great artists of the middle ages, and their

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INTRODUCTION

place is with Diirer, Peter Fischer, Michelangelo, Juan de Bologna, Titian, Holbein, Guilio Romano, Cellini-all of whom, by the way, to a greater or less degree contributed designs for arms and armor.·

The present exhibition of Medieval European Arms and Armor brings together for the first time representative objects from American collections. Hitherto the only arms and armor which summarized this field of art, and were accessible to the general visitor in this city, were exhibited in the Metropolitan Museum of Art, mainly in galleries 1 and 3. t These included ( 1 ) the Ellis Collection, brought together between 1875 and 1890 by Mr. John S. Ellis, of Westchester, presented to the Museum in 1896 by Mr. A. Van Horne Ellis, in his father's memory; (2) the Dino Collection, formed by Maurice de Tallyrand-Perigord, Duc de Dino, with the assistance of the Baron de Cosson, mainly between the years 1880 and 1900 -this collection acquired by the Museum (Rogers Fund) in 1904; (3) a number of important objects lent by the late Mr. Rutherfurd Stuyvesant; finally, part of the collection of Privy-counsellor Zschille, of Grossenhain, which had been exhibited at the World's Fair in Chicago (1893) and for a time at Tiffany's ( 1895). In other American cities armor had been exhibited, as far as we are aware, only in Chicago (Zschille Collection) and in the Boston Museum of Fine Arts (Macomber Collection, about 1890).

• The works of master armorers were as carefully " signed" as contemporary paintings or bronzes. A number of these poinc;ons are given in the present catalogue.

t Metropolitan Museum of Art. Hand-book No. IS. Catalogue of European Arms and Armor, 1905. (Out of print.)

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I N T ROD U C T ION It is clear, therefore, that arms and armor have

seldom been shown to the American art-lover. In general, they represent a field in which good objects are rare. The European museums long since removed from "circulation" nearly all examples of the foremost rank; in fact, relatively few of even ordinary quality have survived from earlier centuries; fewer still have survived uninjured. For such objects had always the distinct value of utility: a sword blade thus survived its handle; a pommel was often older than its guard; portions of earlier armor were introduced into later suits; and, above all things, their excellent metal was serviceable for many purposes. I t was this, especially, which caused the destruction of great numbers of harnesses and arms during periods of neglect of state arsenals, especially at the end of the eighteenth and the beginning of the nineteenth century. It is recorded that the wrought gates of the botanical garden in a European capital were formed of pieces of Gothic armor. So in our own country few arms outlived the period of their usefulness. Eighteenthcentury swords are rare, firearms are uncommon, and armor, even in fragments, is almost unknown. For this reason the few separate pieces deserve to be mentioned which are preserved in Boston in the collection of the New England Historical and Genealogical Society. This dearth of actual specimens of armor is the more surprising since, during the seventeenth century, it appears to have been worn generally in colonial maneuvers. *

• Annor appears not infrequently in colonial portraits, as of Peter Stuyvesant, William Penn, Nathaniel Johnson, Fitzjohn Winthrop. It is mentioned in early wills, together

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I N.T ROD U C T ION

It is not remarkable, in view of the scarcity of good armor and arms, that the number of collectors in later years has been relatively small, especially in the United States, where governmental collections of these objects, which would furnish attractive guides to the amateur, do not- exist. Nevertheless, there have been a few zealous American collectors and during the past six decades they have secured objects of great merit. In fact, the most valuable collection of medieval arms and armor in private hands is in the Paris home of an American, Mr. William H. Riggs, a former vicepresident of the Museum, whose collecting activities began over half a century ago. Another early collector was the late Mr. Pierre Lorillard Ronalds, whose collection was brought together mainly in Dresden and Paris during the third quarter of the nineteenth century. Mr. Carleton Gates had a number of important arms which he obtained in Europe between 1850 and 1860, and brought to his home in Yonkers; this collection was sold in New York about 1876. Another collector was M. H. Cogniat, whose collection was dispersed in 1877 at Leavitt's. Another was Mr. Homer Dixon, of Toronto, whose collection was sold at auction in New York in 1885. Still another was Loon Escosura, whose objects, some of

with interesting details of military equipment. There is a record that an armorer was employed to prepare harnesses in Connecticut (Hartford) • In Spanish America complete panoply for horse and man was used during the Conquest. Half armor was worn by officers during the French and Indian War-Lord Amherst, for example, appeared in blued armor and bore a burganet. Even as late as the Revolutionary War corselets were occasionally worn.

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INTRODUCTION

them of great interest, were auctioned by Bangs about 1888.

Of a later generation were Mr. Henry Havemeyer, whose arms were displayed in his home in Westchester; Mr. Giovanni P. Morosini, whose armory remains in Riverdale; Mr. O. H. P. Belmont, whose collection, formerly in Newport, has recendy been brought to New York by his widow; Mr. Charles Tyson Yerkes, whose arms were few but of good quality; Mr. William Gruger 'Pell, a part of whose collection was presented to the Museum by his daughter, Mrs. Ridgely Hunt, in 1906; and, finally, Mr. Rutherfurd Stuyvesant, whose armor includes a number of the most important specimens in America.

The present generation of American collectors of medieval arms and armor is well represented in the list of lenders given on this and the preceding page, and grateful acknowledgment is here made for their cooperation in making the present exhibition possible.

The thanks of the Museum are also due to Mr. Albert Gallatin, who has made a careful examination of the marks of armorers shown on the various objects exhibited, and has given his time unsparingly in preparing drawings of them for use in the present catalogue.

In connection with the exhibition a number of early tapestries are shown, selected both for the purpose of furnishing a background for the objects and giving contemporary data in costumes, armor, and arms. One of these tapestries is a recent acquisition of the Museum. The remainder, seven in all, have been lent by Mrs. Isaac M. Dyckman and Messrs. Philip M. Lydig, Clarence H. Mackay, and Ambrose Monell.

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I N T ROD U C T ION

In arranging the present collection an attempt has been made to show important examples of each type of armor, a task which has been more difficult since the specimens chosen would naturally be compared with those in the neighboring gallery, especially in the Dino Collection, harnesses which rank with the best of their class in European national collections. Moreover, it has been by no means an easy task in selecting characteristic forms of definite periods to secure always those of the best workmanship.

From the standpoint of the amateur each collection of armor resolves itself conveniently into types-i. e. forms which are specific in fairly definite epochs. It should exemplify periods: (I) "gothic" (= fifteenth century), (2) "maximilian," (3) later sixteenth century, and (4) seventeenth century. Earlier armor, which antedates, let us say, 1400, is almost a negligible quantity; specimens dating from even the end of the fourteenth century are superlatively rare; it would be safe to say that if a collector should examine a thousand fragments of armor he would probably fail to discover among them a single specimen of this period. There are, in fact, not many pieces of this armor in private hands. There are a few bassi nets, some chain mail (of which an admirable hauberk is here exhibited), a few detached pieces of plate, fragmentary harness trappings, spurs, and offensive arms. Actual examples of chain mail, which one associates with early medieval armor, are rarely older than the fifteenth century, if European; for the many specimens in private collections and museums are Oriental, and not older than the seventeenth century.

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I N T ROD U C T ION

The characteristics of the various types are briefty as follows:

( I) GoTHIC ARMOR includes practically all early examples, that is, everything antedating 1500. It is the most interesting of all armor, but ,unfortunately the rarest. It is the armor of the Wars of the Roses, of the Condottieri, of the Conquest of the Spanish Moors, of the Fall of Constantinople, of the Burgundian defeats, of Louis XI, of Diirer's Knightssimple harnesses, elegantly fitted, their parts articulating with great precision, of metal which shows a slightly yellowish color, is curiously hard, resists action of acid, and possesses a texture which reminds one of a kind of Damascus steel, with layers and fibres in its structure. In form, its distinguishing marks include plastron typically divided into upper and lower (placcate) elements. back-plate usually formed of several pieces, a skirt-like hip guard, tassets formed of one plate or few plates, head defense a dome-shaped bassinet or a bowl-shaped salade, with a separate chin guard. Only in latest gothic armor does a true armet, or closed helmet, appear, in which, by the way, the chin guard is formed not of the more ancient buffe, or baviere, but of the enlarged cheek lappets, which lock at the tip of the chin. Foot defenses were rarely used (those in gothic harnesses are with few exceptions modern), but when present were of the long pointed form (a poulaine). Fluting of the plates occurs sparingly and only in later harnesses. All margins are apt to be smoothly finished, i. e. not banded or ridged obliquely (" cabled" or "roped "). In general, ornaments, when present, are pointed in form, and show gothic trefoils.

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I N T ROD U C T ION

Nine harnesses of this type are shown in the present collection.

(2) MAxIMILlAN ARMOR (from 1500 to about 1530) is usually distinguished by numerous fl utings which at once strengthen the plates and add to their beauty by introducing a constant play of lights and shades. It is the armor of the court of Maximilian I, of the Field of the Cloth of Gold, of the later, sumptuous period of the princes of Florence. This style arose out of the fluted harnesses of the late gothic and developed closer and deeper crenulations; it was especially of German origin, many harnesses of this type bearing the marks of Nuremberg armorers. Its diagnostic features include globose plastron, mitten-shaped gauntlets, tassets of many lames, sometimes continuous with the thigh-plates, armet with "bellows" visor, and wide or "bear-toed" sollerets. In all parts beautifully roped margins are apt to be present. In its later forms its grooves become specialized to certain exposed or ornamental lines, but the globose plastron and widetoed solIerets are characteristic as late as 154.;.

The metal of this period is more uniform in texture, slightly softer, and more silvery in tone.

Six harnesses of this type are shown. (3) LATER SIXTEENTH CENTURY ARMOR (from

about 1530-1600) is characterized by plastrons ridged and peaked, the peak descending as the century progressed, till at the end it gave rise to the peascod and goose-breasted forms. The casque develops a high comb, and a visor of upper and lower moieties (ventail and visiere) or becomes an open burganet, i. e. without chin guard and with ear flaps, or loses the ear pieces and becomes a hat-shaped morion or

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I N T ROD U C T ION

cabasset. The gauntlets have fingers distinct. The foot defense has a tip of natural outline, or somewhat rounded. The metal is in heavier plates than in earlier armor, shows flaws less numerous, and is of duller lustre. In workmanship, the armor of this period is already decadent: decoration is apt to be non-essential or even harmful to the armor itself, taking the form of incrustation, etching, inlay-work, or embossing.

Eight harnesses of this type are shown. (4) SEVENTEENTH CENTURY ARMOR increased

greatly in weight and retrograded in workmanship, form, and metal. It was less useful owing to improvement in firearms, the general use of which did not favor costly differences in the quality of similar harnesses. Elaborate finish in workmanship of the earlier period' is here succeeded by a rougher surface of metal, which was usually colored, i. e. blackened, russeted, blued, painted, or gilded. The contours ,of the various parts became heavy and poorly modeled. Diagnostic features include short-brimmed hat-like head pieces ( cabassets), short-visored armets, burganets with small ear defenses and a long articulated neck defense (lobster-tail), usually with a brow-peak (umbril) from which one or more bars descend, shortwaisted corselet, continuous tassets and cuisses, short hip-guard (braconniere), annular elbow guards, and poorly modeled boots. The last elements are rarely found after 1620, and the cuisses disappear about 1650. Arm defenses and tassets rarely survive the century. In general, the metal in this period is thick and poor in quality. To cheapen its manufacture it appears sometimes to have been rolled out between heavy cylinders, instead of hammered out by hand. The rims of plates were usu-

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I N T ROD U C T ION

ally wrapped over and ornamented with close-set fileline, en torsade, and the surfaces of plates were ornamented by lines, filed or etched, usually in paralld series. Three harnesses of this type are shown.

In the present exhibition the visitor should enter the gallery from the north door, and turning to the right make a tour of the room. He will thus obtain in outline the historical sequence of the objects, and will be able to trace the development of the typical forms and their decoration. If interested in the general theme, he is recommended to visit the Library of the Museum, where the Librarian has kindly arranged in a special alcove the works of reference dealing with armor. These include the classical works of Meyrick, Hewitt, Hefner-Alteneck; albums of illustrations of the objects in the armories of Paris (including the collection of Mr. William H. Riggs), Turin, Madrid, Vienna, Nuremberg .••• ; contemporary representations of armor in books (Thewerdanck, Burckmair), brasses (Haines), tapestries (J ubinal) •

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CATALOGUE

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CATALOGUE OF A

LOAN EXHIBITION

OF

ARMS AND ARMOR

ARMOR

I

HARNESS FIRST HALF OF XV CENTURY A suit formed of parts of a number of harnesses. It includes (I) hauberk of unusual length, made up of large riveted links, and having long sleeves, enlarged toward the wrists. These features suggest less an Oriental than an early European origin; and, were it not that the links are light in weight, this mail might be assigned to the fourteenth century. Formerly in the collection de Lery. (2) Mesail of the beginning of the fifteenth century. From the Lucerne arsenal, and from the collections Zschille and Laking. (3 ) Neck defense of chain mail, camail, hanging from the bassinet over the shoulders and terminating in thirty-two lappets, each of. these consisting of four rows of links of which the three rows distal are of latten, each link neatly closed by overlap and pivot (diameter of link outside ir in.). (4) Arm defenses of plate of an early type, worn as reenforcing the sleeves of mail, for they protect only the outer side of the arm: the epauliere is small, of two lames, and fastened

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CATALOGUE OF ARMOR

to the plate of the upper arm; the cubitiere is flat, with angular borders; the defense of the forearm is provided with a slot in which a peg travels up or down as the hand is raised or lowered, for the defense of the hand is not arranged as a separate gauntlet; it is composed of five lames, the distal having two knuckle points. Probably German. From the de Ury collection. (5) Plastron, having Nuremberg mark, dates between 1380 and 1430: this specimen, from the collection of Hefner-Alteneck, is illustrated in his Trachten, IV, pI. 244, and in the Waffen, pI. 36. Mounted with the figure is (6) cross-hilted sword with octangular pommel, about 1425. From the de Ury collection.

Lent by Bashford Dean.

2

GOTHIC ARMOR Spanish ABOUT 1460 Plastron of the form typical of the third quarter of the fifteenth century: pansiere is of great height, arching upward almost to the neck; its apex is broad and its upper lateral margins crenulate. Sleeves and gauntlets of mail; cubitieres are of the early gothic form, angular in the sweep of the margins from the central portion. Salade has a wide down-turned border typical of the period; it is encircled with a decorated band of brass and may at one time have been completely inclosed in a lattice work of brass on crest ~nd sides, as in a similar casque preserved in the Historical Society in Madrid. Simple buffe, with long pectoral (or colletin), projecting acutely over the plastron. The defenses of the legs terminate below the knees; they are typically Spanish in having broad plates with ray-like ridges extending above and below the knees.

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PLATE 1

SPANISH ARMOR, ABOUT 1460

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PLATE 11


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CATALOGUE OF ARMOR

Formerly in the armory of the Count del Asalto, in the Casde of Guadamur, near Toledo. Accompanying this figure is a stirrup-crossbow with windlass, fifteenth century. Illustration, pt I.

Lent by Ambrose Monell.

3

GoTHIC ARMOR Spanish ( ?) ABOUT 1475 Plastron decorated with flutings, which radiate from the lower part of the pansiere. Back plate composed of four elements. Defenses of arms and legs ridged, the canons becoming somewhat octangular in section. This mode of decoration suggests a Spanish model: it is seen, for example, in the figures supporting the effigy of a count of the Luna family in the Cathedral of Toledo; it occurs, as well, in a marble effigy of the Count de Queralt now in the Civic Museum of Tarragona, both images dating from the last third of the fifteenth century. The peculiar radial ornament of the shell of the elbow guard appears also in the same monuments. Particularly interesting in the present suit, and' suggesting an early date, are the leg defenses; these have knee-guards with median ridges, and below the knee large plates asymmetrical in form and ornament. Greaves and sollerets are restored. This harness was obtained from the Duke of Osuna by the Count del Asalto and formed part of the armory of Guadamur. Illustration, pt 11.


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CATALOGUE OF ARMOR

4 ARMOR, MOUNTED ON HORSEBACK

Italian ABOUT 1480

A suit composed of elements of several harnesses. Salade in Spanish style with deep rim bent downward and encircled with ornamented copper band: buffe with falling rim. Plastron globose, bearing the mark of the Milanese Missa- glia, a mark which o'ccurs l .. also on the fourth lame of the deep bracon-niere, and on "' (tl the left elbow guard. Gauntlet .,. J has a long cuff, and is of the c: /1· mitten type, the fingers covered f) f ~ by a single plate. Thigh defenses terminate in a high, over-rolled margin. Greaves are margined below by ridges indicating that sollerets were not worn. Horse trappings are of Flemish velvet, fifteenth century in design, but dating from the sixteenth century. Armoring of the saddle authentic, also bit, stirrups, and stirrup leathers. The bridle also is original, an early form, retained, however, in Canton Uri until the eighteenth century. Criniere is of stout riveted ring-mail margined with pointed lappets. The chamfron is of the narrow form typical of the fifteenth century, ornamented with chevron-shaped ridges corresponding in pattern with the saddle front. Modern are part of back plate, right shoulder, gussets, left gauntlet, part of the right knee, saddle frame. Illustration, pI. HI.

Lent hy Bashford Dean.

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PLATE III

ITALIAN ARMOR, ABOUT 1480

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PLATE IV

ITALIAN (?) ARMOR, ABOUT 1480

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CATALOGUE OF ARM OR

5 COMPLETE ARMOR Italian { ?) . ABOUT 1480 A harness of simple gothic design, decorated in fluted ridges arranged in the order of threes on shoulder defenses, pansiere, palettes, . cubitieres, gauntlets, cuissards, greaves; and in threes doubled on the upper arms and dossiere. A graceful trefoil appears at the upper point of the pansiere. Salade of German form, deep and long. Of exceptional beauty are the shoulder guards, whose ridges increase in prominence as they diverge from the ridge of the arm forward and backward, and terminate in boldly serrate margins. Their character is strongly Italian, and so, too, is the treatment of the dossiere, of the knee, and of the shell of the elbow-guard. We note that the grooves are flatter than in German harnesses of similar date. It may be remarked that the present suit is of archreological interest since it shows that the garde-col, which becomes so ·conspicuous a feature of harnesses of the

. first half of the sixteenth century, arose primitively as an uproIled edge of the epauliere. Sollerets restored. Formerly in the Spitzer Collection. Illustration, pI. IV. .

Lent by Mrs. Rutherfurd Stuyvesant.

6 ARMOR ABOUT 1490 Half-suit, composed. Head-piece a Milanese barbute signed by Antonio Missaglia and bearing the mark of double proof; with this is a standard of mail, composed of broad, flattened, riveted links, margined with three rows of latten rings, riveted. Plastron is boldly

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CATALOGUE OF ARM OR

arched: tassets of three lames, asymmetrical, bearing a median keel. S h 0 u I ders with guarde- ~ col: el bow guards with ~ median ridge, and with shell having sub - angular margin: the elbow is in part defend-

., ~ d ed by a pro- • jecting guar of the fore- r: ~ : arm defense, as in Span- ¥ 11 ish harnesses. [Defenses of the left fore-arm are restored.] Formerly in the collection of Baron Vidal de Ury. With this harness is a double-handed sword of about the same period. Its blade tapers acutely, is diamond-shaped in sec- ! tion, and bears the maker's marks, B, sur- mounted by a crown. Fusee is modern. Found in peat at Murten.


7 GOTHIC ARMOR Spanish ABOUT ISOO

Head-piece is an armet-a-rondelle with elongated visor in Spanish style; it resembles closely specimen No. 274 in the.. Madrid Armory. Plastron is of a heavy rl.'1'. Spanish form with prominent ridges at !IZ the arm pits; it bears the mark of an un- identified armo rer. Elbow guards with reenforcing plates of early form. Gauntlets of mitten type. Around· the waist is a jupon made of stuff dating from the early sixteenth century-a brocade patterned with silver threads. Armor for the legs restored.

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PLATE V

SPANISH ARM OR, ABOUT 1500

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PLATE VI


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CATALOGUE OF ARMOR

With this harness is a lance dating from the early sixteenth century. From the Castle of Guadamur. Illustration, pI. V.


8 ARMOR Spanish ABOUT 1500

This harness suggests an early period j neverthdess, judged from several details, as the roped margins of plates in various regions, it can hardly antedate 1500,

and may even be as late as 1510. Casque is an armet-arondelle. Plastron typically Spanish in form, narrow at the waist, heavily margined at arm openings and neck, and provided with lance rest. Back plate is formed of median and lateral elements: there are deep braconniere and garde reins, composed of four lames. Tassets large, of three elements, asymmetrical in outline, but with a metlian keel. Shoulders with gardecol, of which the left is the higher j shell of dbowguard decorated with radial ridges which diverge from the distal end and terminate in marginal angles. Gauntlets are of mitten form and provided with a second articular knuckle plate, i. e. protecting the second joints of the fingers. Leg defenses carry out the motive of the arms j bdow and above the knees extend wide plates, terminating in acute angles, reminiscent of armor of earlier decades; the sollerets terminate bluntly, the toe-caps are ridged; they were provided with eyelets and laces by which a pointed terminal (a poulaine) could be fastened. With this figure is a three-edged estoc. Restorations are timbre, auricu-

9 ;\

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CATALOGUE OF ARM OR

lars, terminal lame of right tasset, fusee, and guard of estoc. From the Osuna Collection. Illustration, pI. VI.


9 J OUSTING HARNESS, MOUNTED Spanish

EARLY XVI CENTURY

Helm of the long-faced form shown in Spanish harnesses dating from the beginning of the sixteenth century, preserved in the armory in Madrid. (Cat. C. 9, Z. 75.) Plastron heavy, broadly arched and provided with a low pansiere, similar to one in Madrid figured by Jubinal. Taces of single plates, that of the left side much the larger. The left arm, also, is more strongly defended, having a large guard at the elbow. (The uppermost lame of this arm defense bears the accompanying mark.) Gauntlets are not of 9) the same pair, but are closely similar . in period and work-manship; both have • the flange project-ing from the mar- .. - gin of the forefin-ger, which prevented a lance from entering between the gauntlet and the object held. Leg defenses carefully modeled; greaves do not completely inclose the calf; sollerets absent, the feet having been originally protected by armored stirrups of the type shown, for example, in D. 75, 76, in the armory of Turin. Trappings of the harness are prepared from sixteenth-century damask; armoring of the saddle is from the Osuna armory.

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PLATE VII

SPANISH JOUSTING ARMOR, EARLY XVI CENTURY

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PLATE VIII

EARLY MAXIMILIAN AR:\IOR, ABOUT 1505

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CATALOGUE OF ARM OR

This harness was obtained by the late Count del Asalto from the armory of the Duke of Osuna. Illustration, pI. VII.


10

ARMOR Nuremberg An admirable maximilian harness.

ABOUT 1505

It exhibits several features of the earlier period: its plastron is divided into upper and lower plates, articulating with a central pivot, allowing greater freedom in raising the shoulder; it has the early form of elbow guards and lacks the roped margins typical of maximilian harnesses of 1515-1530; it has, also, the early type of armet with I bellows visor and with bevor opening at the tip of the chin. The splinted defenses for the inner side of the arm indicate that the suit was sometimes used in combat on foot. On several of its pieces it bears the mark of the armorer, a lion's head surmounting the letters L. B. All parts of this harness are authentic. Formerly in the collections of Lord Stafford and Baron de Cosson. Exhibited in the Tudor Exhibition (No. 578). Illustration, pI. VIII.


11

MAXIMILIAN HARNESS German ABOUT 1510

A maximilian armor in which the ridges appear in numerous groups of three, and «::0 not usually extend to the margin of the plates. Plastron is of graceful

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CATALOGUE OF AR MO R

form, highly arched and narrow waisted: it bears the mark of Veit(?) of Nuremberg, together with initials. Belonging to the same harness are the following 0 (!{l. l.o elements~ armet, coli e tin (i n 1IIJl part) , plastron, dossiere, bracon- n i ere, g a r d e reins, epaulieres (of spalliere type), canons, cubitieres, gauntlets, cuisses, genouillieres. Modem (restorations of about 1850) are boots, sollerets, taces, right shoulder. The light jousting lance accompanying this suit dates from the sixteenth century. Formerly in Ronalds Collection. Illustration, pt IX.


12

HARNESS FOR HORSE AND MAN German ABOUT 1515

A fluted harness typical of the epoch of Maximilian I. (See the engraving of this emperor by Burckmair, dated 1508.) The knightly armor is, in the main, from the same suit, as indicated by the workmal1ihip and the pattern of fluting in the various elements of the trunk, arms, hands, and upper legs. The boots are modern (1850?); the casque is authentic, but from another harness. The horse trappings include crinets, chamfron, bridle, bit, stirrups, and armor of saddle. Modern are mountings of saddle, crupper and poitrel (18so?), mounts of bridle, panache. Horse model is of carved wood, a copy of a seventeenth-century carving from the armory of the Castle of Heidelberg. FOnilerly in Ronalds Collection. Illustration, pt X.


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PLATE IX

MAXIMILIAN ARM OR, ABOUT 1510

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PLATE X

MAXIMILIAN ARM OR, ABOUT 15 I 5

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CATALOGUE OF ARMOR

13 ARMOR German ABOUT 1525 A maximilian harness enriched by both fluting and etching. Casque provided with a double crest of roping i visor rounded in the nasal region and provided with slits in a vertical series. Plastron well arched and decorated with etching in graceful traceries. Elbow guards of elegant form, with large shells and roped margins. Illustration, pI. XI. Lent by Clarence H. Mackay.

14 ARM OR German ABOUT 1530 A three-quarter suit, maximilian, delicately fluted, enriched by alternate bands gilded and engraved. The casque is of extraordinary size i it bears an umbril to which are attached bars defending the face. Shoulders of spalliere form. Elbow guards of unusual size and elegance. Gauntlets of mitten type i plastron globose; tassets and cuisses form a continuous defense for hips and thighs, extending as far as the knee; a brayette is present. A harness of the highest class in which all parts are from the same suit-of greatest rarity. From various details in construction, it was probably prepared by a Nuremberg master-armorer at the order of a Spanish noble. A similar suit is said to be still preserved in a private armory in Valencia. Illustration, pI. XII.

Lent by Edward Hubbard Litchfield.

15 COMPLETE ARMOR German ABOUT 1535 A maximilian harness of the latest type: at this period the groups of fluting no longer appear: in their

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CATALOGUE OF ARMOR

place ridged bands occur in various regions. Armet of elegant form and workmanship, with ven- gilt ail a cut e I y pointed: it is remarkable in preserving its original lining. Plastron is globose; it bears the accompanying mark:. With this harness is a sword dating from the second half of the sixteenth century. Formerly in the Pickert collection, No. 950 of Catalogue. Illustration, pI. XIII.

Lent by Mrs. William Rhinelander.

16 ARMOR· German ABOUT 1540 Jousting suit formed of parts of difierent harnesses. Armet heavy, its comb high, with engrailed margin, its ventail without apertures. Plastron with median ridge boldly and gracefully arched: belonging to it is the colletin. Reenforcing plate of left shoulder forms a garde-coI. Left gauntlet a manifer, whose margin around the first finger and thumb is produced so as to prevent the lance-point entering the half-opened hand. Tassets are lacking. Cuisse and genouilliere of left side authentic, the remaining leg defenses restored. Accompanying the figure is a lance whose sides were carved in slender ridges, SO arranged that the shaft would break readily in the joust.


17 HALF ARMOR German ABOUT 1550 Decoration in bands etched and gilded. Armet, corselet, and gauntlet from a richly etched, in part embossed harness, having engrailed margins in the style

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PLATE XI

MAXIMILIAN ARMOR, ABOUT 1525

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PLATE XII

MAXIMILIAN ARMOR, ABOUT 1525

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CATALOGUE OF ARMOR

worn by nobles of the court of Philip 11. The background in the etched bands in alternate areas is blackened or gilt, the technique of this decoration of the best quality,-probably by Coloman. The epaulieres from a harness of Philip 11, made by Wolf of Landshut, of which many pieces are exhibited in the Armeria Real in Madrid. Arm defenses and colletin in closely similar style. Accompanying the present harness is a sixteenth-century shirt of mail of closely woven links. Boots are copies of specimens preserved in the Armeria Real. Illustration, pI. XIV.

Lent hy Clarence H. Mackay.

18 COMPLETE HARNESS German ABOUT 1560 Enriched with broad bands, etched in strapwork and gilded. A homogeneous suit and in extraordinary condition, retaining its original straps and linings. Its workmanship is excellent, probably of Desiderius Colaman (Augsburg). Casque is a high-combed burganet, to which a face guard (buffe ) was originally added. Shoulder defenses have low garde-coI. Plastron of heavy metal, perforated for lance rest, and shows a prominent tapul near lower border. Tassets

. of four lames; cuisses laminated (seven lames) ; greaves do not completely enclose the .lower leg; sollerets of chain mail with toe-cap of plate. This harness is believed to have belonged to a Count Haberstein of Eggenberg Castle, near Graz, whose portrait, in the present harness, is said to be still preserved in the castle. Illustration, pI. XV.

Lent hy Edward Hubbard Litchfield.

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CATALOGUE OF ARM OR

19 COMPLETE ARMOR Italian { ?) ABOUT 1560 A " Pisan " suit with banded ornament, nearly homogeneous. It exhibits a number of unusual features. The tassets are of few lames (seven), but are singularly long; the casque is of jousting type; the shoulder guards have a series of vertical ornamental bands; the defense of the leg does not entirely encircle it, a somewhat early form which is kept in armor worn on horseback. From the part of the collection of the Duc d'Osuna y Infantado, dispersed in Cologne in 1890. Formerly in the Castle of Beauraing (Belgium). Illustration, pI. XVI.

Lent by T. J. Oakley Rhinelander.

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ARMOR German ABOUT 1560 Decoration of bands elaborately etched and gilded, in part embossed, of highest quality. Plastron elegantly formed. Tassets and splinted cuisses continuous. No poin~ns are present, but part of the suit was probably prepared by Desiderius Coloman for the Spanish court. Restorations. Illustration, pI. XVII.

Lent by George J. Gould.

21

ARMOR, MOUNTED ON HORSEBACK Italian ABOUT 1570

A three-quarter suit, etched in bands and medallions, in "Pisan" style. Casque a burganet with falling buffe. Plastron of peascod form; it bears at the neck

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PLATE XIII

LATE MAXIMILIAN ARMOR, ABOUT 1535

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PLATE XIV

GERMAN ARMOR, ABOUT 1550


CATALOGUE OF ARMOR

the arms: argent, on a fesse azure a star of six points: on the field the letter M occurs thrice. Tassets of numerous lames. To the same harness belong colletin, corselet, tassets, and arm ( all bearing the same poinc;on, a bull) and possibly the casque. From a similar har-~ ness is the second arm and the right ~ genouilliere. The rest of the armor of the thighs is restored. The boots are copied from the boots of Philip 11 in the Armory in Madrid. The horse equipment includes chamfron, of Pisan type, and of similar date to the horseman's harness; crinets Spanish( ?), about 1585, curious in form, articulated with sliding rivets, and composed of two lateral and a single median row of scutes: it is closely filled with etched decoration, foliation, grotesques, birds. Bit and bridle are of the period, with original mountings. Trapping copied from a specimen in the Madrid Armory, its damask of scarlet and yellow dating from the XVI century.

Lent by Bashford Dean. (The saddle of similar date belongs to the Museum; it was formerly in the Dino collection.)

22

HARNESS French(?) ABOUT 1580 Plastron and backplate splinted, of the form known as a l'ecrevisse or amine (= lamine). The present harness is described as No. 261 in the catalogue of Beauvais and was formerly in the collection of the Marquis de Belleval, to a member of whose family it is said to have belonged. (Armor of lower leg restored.) This harness was probably at one time blued

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CATALOGUE OF ARMOR

or russeted; it is of a type used by naval officers, like the specimen in the armory in Turin (No. 102, B45), which is described as having belonged to the captain of a galley, or the amine in the Stibbert's collection in Florence, or the harness in Vienna, probably of Mantuan origin, worn by Admiral Barbarigo. Illustration. pI. XVIII.

Lent by Frank Gair Macomber.

23 ARMOR For Papal Guard(?) DATED 1585 A suit typical of this late period. Plastron splinted; near the line of the gorget, it bears a maltese cross, also the arms of the Aldrobrandini (Rome) and date. Decorated throughout by incised parallel lines. Casque, a burganet with umbril; the face region defended by a falling buffe of two lames. The suit was probably used without armor for the lower legs, the boots shown with it having belonged to a suit of somewhat earlier date. Illustration, pI. XIX.

Lent by Clarence H. Mackay •

• HALF ARMOR German ABOUT 1585 An officer's suit of "Walloon," or black and white armor. Between the bright bands flowers, folia-

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CATALOGUE OF ARMOR

tion and grotesques have been embossed, and appear in white relief against the blackened background. Casque is a high-combed burganet, of which the falling buffe is lacking. Epaulieres are of broad type (not spalliere, which is characteristic of this form of armor) ; they protect the back of the shoulder mainly by the expansion of the second lame; they protect the front of the shoulder by extending the four upper lames over the plastron. Braconniere of a single plate. Tassets of six lames, extending nearly to the knees and modeled to the leg. Of the same suit are casque, colletin, plastron, epaulieres, gauntlets, braconniere, tassets. From a simpler suit of the same type are the canons, cubitieres (formerly in the Hefner-Alteneck Collection) and back-plate. Color restored. Formerly in the possession of Stanford White. Illustration, pI. XX.


HALFARMOR 25 French ABOUT 1600

Ornamented with incised parallel lines and with scalloped margins of plates. Casque a burganet with fixed umbril and movable nasal. Epaulieres of light or spalliere type. Tasset-cuisses of seven lames. A late but well-fashioned harness. Surface of metal originally blued or russeted. It bears the initials A. H.


26 PARADE ARMOR (Half suit) German(?)

ABOUT 1600

Elaborately embossed. Plastron decorated with a medallion of many lobes, on which appears a combat of cav-

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CATALOGUE OF ARMOR

alry; enclosing this are renaissance ornaments, trophies, cherubs with laurel branches, and victories. Tassets picture camp scenes and sleeping soldiers. Back-plate decorated by a second large medallion on which is represented an assault upon a walled town; above this are figures personifying victory and fame. The casque is similarly decorated with battle scenes and allegorical figures. The present harness was prepared for ceremonial use only; it is extremely light, casque, cuirass, tassets, and gauntlets weighing about seventeen pounds. The closest parallel to the present suit is found in the Vienna collection in the harness of the Emperor Mathias, and a similar one in the same museum belonged to the Emperor Rudolph 11. Unfortunately nothing is known as to the early history of the present armor. In the eighteenth century it formed part of the collection of General Crozat, Baron de Thiers: in 1772 it passed into the hands of Horace Walpole, and remained at Strawberry Hill until 1842. I t was then secured by Prince Demidoff, at whose sale it was purchased (1863) by Sir Richard Wallace. It was exhibited at the Pantechnicon, and when this was burned it suffered the loss of a number of its pieces; it thereafter passed through the hands of the dealers Pratt and Spitzer. Mr. William H. Riggs informs the writer that this suit had originally complete armor for the legs and that it was richly gilded. Of the original gilding, traces were subsequently found on the backplate. Some of the parts (the elbow guards and a forearm) missing in the Spitzer sale were obtained a few years ago from a Paris dealer; these made it possible to attempt

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PLATE XV

GERMAN ARM OR, ABOUT 1560

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PLATE XVI

ITALIAN ARM OR, ABOUT 1560

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CATALOGUE OF ARMOR

a restoration of the upper arms, the shoulders having been added in galvanoplastic. Illustration, pi. XXI.


27 HARNESS Savoyard ABOUT 16IO ;Etched throughout in close pattern of foliation and heads, the background gilded, and the neigh boring surfaces russeted. Similar harnesses are preserved in the Madrid armory, in Turin, in the collections Estruch (now in Paris in the Pauilhac collection), MedinaCeli, Stuyvesant and Litchfield. The place of origin of these harnesses is not definitely known; according to the studies of Don Jose Florit, Director of the Armeria Real in Madrid, some of them, at least, were prepared in Spain. Other authorities maintain that they were made in northern Italy. It is certain, however, that they were in fashion in the court of Savoy at the beginning of the seventeenth century. In this, as in similar suits known to the writer, restorations are present. Illustration, pi. XXII.

Lent by George J. Gould.

28 ARMOR German ABOUT 1630 Harness typical of the period of the Thirty Years' War. Plastron narrow, of the goose-breasted type, short waisted, provided with long and very wide braconniere-cuisses, which conformed. to the broadly cut costume of the period. Casque a late type of armet.

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CATALOGUE small, with

elbow defended

OF ARMOR "','nr,',, shells; the inner

There is evidence: russeted. Res~

d:htence H. Mack'id ~

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ARMOR, VARIOUS PARTS

29 HAUBERK Italian ( ?)

SECOND HALF OF XIV CENTURY

The great weight of this piece indicates that it was worn before armor of plate attained its full development, and the presence of pointed marginal lappets fixes its period closely. The lappets are bordered with latten links. From the collection of the Baron de Cosson, who calls attention to the resemblance of this hauberk to the one represented on the tomb of Bernardo Visconti, 1354. or of Sir Thomas Burton, 1382. This early hauberk is an object of extreme rarity; eight examples only are known to the writer; a very similar one is preserved in the Museum of Arts and Sciences in Edinburgh. Formerly in the collection of Baron de Cosson. Illustration, pI. XXIII.

Lent hy Mrs. Rutherfurd Stuyvesant.

30

ARMOR-FOR UPPER ARM AND ELBOW LATE XIV CENTURY

Formerly in the Laking collection. Lent hy Bashford Dean.

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CATALOGUE OF ARMOR

31

CAMAIL German(?) EARLY XV CENTURY Its shape indicated that it was attached to a bassinet and was not finished along its upper border as collar or standard. Its lower margin is formed of several rows of latten links. Links are large, flattened and riveted. Formerly in the de Ury collection.


32 SHIRT OF MAIL German(?)

XVI CENTURY Of large links, flattened and of good quality. Collar closely woven. Sleeves half length. Links of latten bordering collar and sleeves.


33 SHIRT OF MAIL German ( ?)

LATE· XV CENTURY Of good workmanship. Links large, carefully riveted. Sleeves half length. From collection of Chateau Hijswyck.

Lent hy Howland Pell.

34 CAPE OF MAIL German

EARLY XVI CENTURY(?) Hangs to the elbows. Provided with a closely woven collar, margined with latten links. Type worn by Landesknechte. Formerly in Clemens collection, Munich.

Lent hy Bashford Dean. Illustration, pt XXIV.

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PLATE XVII

GERMAN ARMOR. ABOUT 1560

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PLATE XVIII

FREI'CH(?) ARMOR. ABOUT 1580

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CATALOGUE

35

OF ARMOR

SHIRT OF MAIL renetion XVI CENTURY

Made up in large part of closely woven (CC double ") mail: this appears in the collar, over a large part of the trunk and in tracts on the sleeves, giving extraordinary protection. In these regions it can hardly be penetrated by a pin. Made of small links, soml! of them latten in collar and skirt. It lacks an armorer's mark, but is none the less an adequate example of the work of a master in mail weaving. Formerly in the Forrer collection. Illustration, pI. XXIV.


36 DEMI-PLASTRON (PANSIERE) English ( ?)

t400( ?) Lent by Bashford Dean.

37 DEMI-PLASTRON (PANSIERE) German ( ?)

1450 ( ?) Worn over shirt-of-mail or jacket of ,hardened leather. Formerly in the Forrer collection.


38 BRIGANDINE Italian LATE XV CENTURY

Covered with green satin. From a Genoese palace, where it passed as having belonged to the Conte Verdi, and from the collection Clemens in Munich. Illustration, pI. XXVI.


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CATALOGUE OF

39 PLASTRON AND GORGET

ABOUT 1510

ARMOR

Italian

Plastron globose, boldly fluted in its lower part and enriched with incised designs. These take the form of interlaced bands and foliation: there is also a central medallion, picturing Virgin and Child, a type of ornament well known in Polish harnesses and indicating that the present objects may have been prepared for a Polish noble. The background of decorated areas is hatched and was probably gilded. Colletin bears the same general treatment and belonged to the plastron. Probably the work of Bernardino Negroli. These objects were formerly in the Thill collection, Vienna, and were exhibited in the Tudor Exhibition, London. (The armet which accompanies these pieces is of similar period and workmanship. Lent by Bashford Dean.) Illrlstration, pI. XXV.


40 STANDARD AND PECTORAL OF MAIL

Italian XVI CENTURY Collar woven in "double" mail: its marginal rings are of latten,-and all iron rings are closed with button-like rivets of latten.

41 SLEEVES OF MAIL


German ( ?) XVI CENTURY

Links of rather small size, carefully woven in the shape of the sleeve and expanded to cover the shoul-

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CATALOGUE OF ARMOR

der and axil. Mounted with anime harness (PI. XVIII). Illustration, pt XXIII.

Lent hy Frank Gair Macomber.

42 BRIGANDINE Italian EARLY XVI CENTURY Covering of red velvet. Formerly in the collections, Zschille, Gimbel, and Niemeyer. Illustration. pt XXVI.


43 REINFORCING PLATES OF JOUSTING

ARMOR German ABOUT 1550 Grande garde and elbow-plate. The grande garde bears etched ornamentation: near the centre a spray with rosettes, on the front border a narrow band of foliation, on the hinder border a wide band. The reinforcing elbow guard is decorated with a wide marginal ornament, etched, blackened and gilded, and with a central lion's head, medallion-shaped, etched and blackened. Probably the work of Coloman. These pieces appear to have been abstracted from the Armeria Real (Madrid) and to have been among the supplemental defenses of a harness of Philip 11, sold at Christies in 1838 to Ralph Bernal: from his hands they passed (1855) into the collection of Lord Londesborough and are .illustrated in Miscellanea Graphica, plate XLIII. They later appear in the sales of Guernsey, Spitzer, and Zschille. Illustration, pI. XXXVI.

Lent by Cornelius Stevenson.

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CATALOGUE OF ARMOR

44 P ARTS OF PARADE ARMOR OF PAGE

German ABOUT 1515 A tasset and shoulder defense, parcel-gilt, modeled to accord with the slashed and puffed costume of the period. The work of Hans Seusenhofer{ ?). Formerly in the Londesborough collections. Illustration, pI. XXXVII.


45 PLASTRON German ABOUT 1570 Peascod in form and splinted; of the form known as anime (lamine). The metal is russeted and decorated with bands, etched and gilded. Probably of Augsburg workmanship. It bears the stamp of the Constantinople armory and was probably taken as spoil of war, since such a type of breastplate would hardly have been exported to an eastern market. Formerly in the Kervorkian collection. Illustration, pI.. XXV.


46 POURPOINT French ABOUT 1580 Of buff leather, decorated with embroidery and with lines of gold tinsel; the embroidered ornament is confined to the lower portion of the trunk and to the forearms; the banded ornament, to the shoulders, upper arms, cuffs and flaps about the waist. From the collection of Baron de Ury. Illustration, pI. XXVII.


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PLATE XIX

PAPAL AR:\10R, ABOUT 1585

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PLATE XX

WALLOON ARM OR, ABOUT 1585

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CATALOGUE OF ARMOR

47 J AZERAN Polish ( 1) XVI CENTUR~ Flexible defense formed of scales riveted on a heavy linen jacket, a type of body armor of great antiquity, retained, however, in Slavic countries until about 1700.


47a COIFFE OF MAIL Swiss. XIV CENTURY

With pointed ear lappets. Formerly in Lucerne Arsenal. From the de Lery collection. Illustration, pIs. XXVIII, XXIV.


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CASQUES

48 BASSINET English ( ?) XI CENTURY(?) Subconical in form, made of four plates. From the Laking collection. Illustration, pI. XXVIII.

CHAPEL 49

Italian


XIII CENTURY Found in a grave near Meran, together with fragments of mail. Illustration, pI. XXVIII.


50 BASSINET German ABOUT 1320

Round topped and fitted to the shape of the cranium. Margin perforated for attachment of camail and padded lining. Formerly in the Hefner-Alteneck collection. Illustrated in the Trachten, Bd. Ill, Taf. 181.

Illustration, pI. XXVIII. Lent hy Bashford Dean.

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CATALOGUE OF' ARMOR

51 SALADE French ABOUT 1460 Dredged from the River Somme. Formerly in the collection de Lery. With this is a buffe, of similar date and from the same source. Illustration, pI. XXVIII.


S \LADE German

Of a wide and deep ~ workmanship. Bears (probably) of Treytz the collection Thill. Illustration, pI. XXIX.

ABOUT 1480 form of excellent the leaf-shaped mark of Innsbruch. From


53 BARBUTE Milanese ABOUT 1480 A typical example of this North Italian form. Crest appears as an ~ angular ridge: sides covering the cheeks ex-tend to chin region. On the right side of occiput appears the mark of the M is sag I i a~ stamped in double "proof," i. e.,

indicating that ~.' i" the casque had been subjected.. to certain ex-perimental tests. Illustration, pI. XXVIII.


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CATALOGUE OF ARMOR

54 ARMET A RONDELLE Italian ABOUT 1490 A head-piece of small size, but its great weight indi-cates that it could hardly have been pre-~ pared for a child. It bears _.., five poin,.ons of Ant 0 n i o(?) 1.) l~ ~issaglia, i. e., one on each au- - ncular,. two on the right and one on the left side of the occiput,-an example, therefore, of complete proof. Visor is lacking. Formerly in the Collection de Ury. Illustration, pI. XXIX.


55 ARMETA RONDELLE Italian ABOUT 1490 Admirably modeled and in excellent preservation. It bears no armorer's mark, but is probably of Milanese workmanship. Illustration, pI. XXIX.


56 ARMETA RONDELLE Italian ABOUT 1490 Similar to the foregoing, but with shorter neck defense. Formerly in de Cosson collection. Illustration, pI. XXIX.


57 ARMET German ABOUT 1515 A Maximilian casque with acutely pointed bellows visor; timbre unusually elongated.


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PLATE XXI

GERMAN ARM OR, ABOUT 1590

PLATE XXII

SAVOYARD ARMOR, ABOUT 1610

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CATALOGUE OF ARMOR

58 ARMET German ABOUT 1530 Decorated with fluting and bands of etching. The latter appear on visor, comb, and neck-plates. The comb is formed of two ridges, roped in opposite directions. Unusual features are fluted bands of the chin region which reappear on the visor and extend nearly as far as the sub-ocular ridge; fluting on the sides of the casqve, which passes upward, i. e. becomes transverse, and terminates above the region of the temple; low occipital plate separate from the timbre. Probably of Nuremberg workmanship. Formerly in de Cosson collection. Illustration, pI. XXXI.


59 ARMET German ABOUT 1530 A russeted casque in remarkable preservation, decorated by broad bands of etching enriched with gold. The type of decoration suggests the work of Floetner of Nuremberg. The form of the armet indicates that it was prepared for foreign use, probably Spanish. We thus note the form of the visor, which is distinctly of the type of the armet-a-rondelle, and has the marginal points, suggesting an earlier period; also the lines of the timbre, and the banded decoration which radiates from the pivot of the visor (reminiscent of the attache of pate-plate). Formerly in the collection Traumann (Madrid). Illustration, pI. XXXI.

Lent by Clarence H. Mackay.

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CATALOGUE OF ARMOR

60 CASQUE A L'ANTIQUE

DATED 1543 Milanese

Decoration embossed. Crest a dryad bending supine and extending head downward on the frontal. In the hands are caught locks of a gorgon's head, which forms a central ornament on the brow. The entire ornamentation is of extraordinary elegance and dignity. The figure forming the crest terminates below the waist in overlapping acanthus leaves: on either side arise tendrils and foliation which develop two opposed systems of spirals, one covering the parietal region, the other the temporal: the former culminates in a cc flower" from which half emerges a figure of Cupid. All traceries and figures exemplifying the best efforts of the sixteenth century embossers of armor. The quality of this work can best be understood by examining the way in which such difficult details have been shown as the muscles of the ribs or the treatment of the wrists. Ear-plates were originally present. On the brow, which is formed of a plate lying below the ornamental peak of the casque, appears the inscription in letters of gold damaskeen, PHILIPPS NEG ROLU FECIT MCXXXXIII. The casque was evidently prepared for a personage of the highest rank. Formerly in the possession of the Duc de Luynes. Illustration, pI. XXX.

Lent by J. Pierpont Morgan.

61 CASQUE A L'ANTIQUE Italian ABOUT 1550 Decoration embossed. Crest formed by an armed figure bending supine and extending head downward

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CATALOGUE OF ARMOR

on the frontal. His beard is divided and is seized on either side by winged tritons. The occiput of the casque shows at the base of the crest an acanthus leaf, which terminates below on either side in a coiled band. There were no ear-guards, the roped margin extending unbroken from front to back. A similar casque (said to have belonged to Charles V) is attributed to the brothers Negroli. (See pI. XXXVII, Gelli-Moretti, Gli Armaroli Milanese, 1903.) Another is in the Artillery Museum in Paris. Formerly in de Cosson collection. Illustration, pI. XXX.

. Lent by Mrs. Rutherfurd Stuyvesant.

62 ARMET German 1560 A carefully wrought form, decorated with bands of etching, in which the background is relieved with black and gold. The etched design is somewhat geometrical and the casque resembles both in this regard and in its general form a head-piece worn by Emanuel Philibert. See catalogue of the Royal Armory in Turin. Illustration, pt XXX.

Lent by Amory S. Carhart.

63 ARM ET German ABOUT 1560 Decorated with bands etched and gilded. Probably of Augsburg workmanship. Formerly in the Zschille collection (No. 4 of Berlin catalogue) • Illustration, pI. XXV.


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CATALOGUE OF ARMOR

64 COLLETIN Italian(?) ABOUT 1570 Decorated with embossed heads, Medusa and Stheno: on the side of each plate are pictured coiling serpents. Formerly in the collection Hefner-Alteneck. Illustration, pI. XXXII.


65 Italian

A highly specialized form with crest-comb of exaggerafed type, five inches in height. Richly etched in Pisan style with strapwork and trophies. Illustration, pI. XXXI.


66 COLLETIN German ( ?) 1585 Decoration repousse, silvered and gilt. Central medallions represent battles; framing is strap-work, gilded. Surrounding this are trophies, birds, and fruit, embossed and silvered. The background is gilded. Illustration, pI. XXXII.


67 MORION Nuremberg 1590 Etched and gilded, representing on medallions Scaevola and Curtius. The rivet heads are gilded, of large size, representing heads of lions. Ear-guards are present and the original lining. This morion is of the type borne by the guards of the elector of Saxony. Illustration, pI. XXXI.


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68 ARM ET AND COLLETIN

ARMOR

French 1600 They bear the original gilding, and are similar to specimens in the Wallace collection.


CABAS9ET Italian ·1600 Decorated with bands on which appear figures and foliation in relief, the background of the bands gilded. Formerly in the collection of the Marquis de Rossi and of "a Count of Turin." Illustration, pI. XXXI.


70 BURGANET French ( 7) 1600 Attached to colletin and barred from umbril to bevor, heraldic in form. It was evidently arranged for an achievement; its comb is crudely pierced to enable it to be hung from a peg or bracket. From the de Ury collection. Illustration, pI. XXXI.


COLLETIN (Front) French 16IO

Decoration repousse, silvered and gilt. The ornament in relief; the background and strap-work silvered and gilt, afterward ornamented with lines and foliage hammered in. Illustration, pI. XXXII.


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CATALOGUE OF ARMOR

72 LATE BURGANET German(?) 1630 Typical .. lobster-tail" head-piece worn during the period of the Thirty Years' War.


73 SPIDER HEAD-PIECE French 1630 With hinged defenses protecting face and neck. Coloring restored. Formerly in Ronalds collection.


74 IRON HAT English 1640 Head-piece of officer in forces of Charles I. Coloring restored. Formerly in Ronalds collection.


75 PATE CAP English 1645 The latest type of steel head defense worn generally in the English Army; it appeared as a lining to the felt hat. This is one of the sixty specimens found in a pile, one enclosing another, in the attic of an ancient manor house in Yorkshire, about 1909.

Lent by Robert Sterling Blair.

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SHIELDS

76 T ARGE Austrian LATE XV CENTURY Made of elm wood, strengthened by raw-hide and canvas, covered with jesso and painted in tempera; it is decorated in its upper field with two small escutcheons, the right or, a Swiss cross gules, the left azure, a star of six points or. Formerly in the Thill collection, and in the civic armory of Vienna, whence a number of targes of this type appear to have been exchanged about forty years ago.


77 BUCKLER Spanish LATE XV CENTURY Wooden, covered with hide, rimmed with iron, and provided ~ith broad conical boss. It bears a hook on which a lantern may have been suspended.


78 FIST SHIELD Spanish EARLY XVI CENTURY Wooden, covered with leather and paiQted, reenforced with metal bosses and marginal band, original lining preserved, together with hook from which a lantern might be suspended. A central boss bears a guard for catching the point of a sword. The surface of the

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CATALOGUE OF ARM OR

shield has been painted and bears the letters GUERERO (the name of a patrician family of Seville). Formerly in the de Cosson collection.


79 RONDACHE German 1550 Ornamented with wide marginal and three radial bands, etched in foliation in set pattern; in this the background is gilded and the surrounding areas in the bands are relieved by bright points on a blackened ground. The rim of the shield is engrailed, in Spanish style, and the workmanship is probably of Wolf of Landshut. Illustration, pI. XXXIII.


80 RONDACHE. Italian 1590 Wooden, covered with embossed and painted leather. Belonged to the guard of the Archbishop Elector of Salzburg. Obtained in exchange from the Salzburg Museum. A similar specimen is in the Wallace collection. Illustration, pI. XXXIII.

RONDACHE


81 Italian 1600

A shield retaining its russet background, upon which six petal-shaped medallions are engraved. These picture battle scenes and are brightened by gold and silver. Additional decoration appears in incised festoons of fruit and flowers, together with monsters, musical

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PLATE XXVI

BRIGANDINES, XV AND XVI CENTURIES

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CATALOGUE OF ARM OR

instruments, and foliation. Probably the work of the Milanese Hieronymo Spachini. Fornlerly in the Zschille collection. Illustration, pI. XXXIII.


82 TARGET Highland .ABOUT 1700 Covered with hide stamped with archaic Celtic designs and studded with brass-headed nails which form a pattern of concentric circles. From the center arises a long spike. Illustration, pI. XLVII.


83 GAUNTLET ABOUT 1350 Of chain mail, apparently of early date and of Euro-pean origin. From the de Cosson collection. Illustration, pI. XXXIV.


84 GAUNTLET German ABOUT 1375 Formed of a single piece protecting the entire wrist, the back of the hand, and the basal segments of fingers and thumb; the division of the fingers is indicated by grooves which extend well over the back of the hand. Illustration, pt XXXIV.


85 GAUNTLET (Galvanoplastic) A copy of a gauntlet of the Black Prince which was taken from his tomb in Canterbury about the middle

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CATALOGUE OF ARMOR

of the last century. Its form is similar to the preceding example; on the knuckles appear the Plantagenet leopards in full relief, forming gadlings. From the Croissat collection. Illustration, pI. XXXIV.


86 GAUNTIJET English 1440 Gothic mitten, heavy and large. Cuff element lacking; separate articular lames for wrist and metacarpal segments, the former with small eminence to accommodate the prominence at the end of the ulna; knuckle plate with low gadlings; fingers covered with two lames, of which the distal terminates in four angular processes. From Royal Archreological Institute and de Cosson collections.


87 GAUNTLET Italian ( ?) 1450 With long cuff terminating 10 an acute angle. Defenses of fingers missing. From arsenal in Rhodes.


88 GAUNTLET German 1460 Jousting mitten formed of two segments, a wide cuff and a well-modeled metacarpal plate. From Gimbel collection. Illustration, pt XXXIV.


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89 GAUNTLET German 1480 Gothic mitten of ten segments, articulated admirably. Cuff element long and pointed acutely, with margin angular in section rolled from within outward; wrist segments two in number, the outer embossed with eminence to accommodate the wrist-end of the ulna; metacarpal lames-three, developed in four dorsal ridges expanding in the direction of the knuckles. These ridges are developed on the knuckle lame as low gadlings. Three lames protected the fingers. Rivet heads in form of rosettes. From the de Cosson collection.


90

GAUNTLET German 1490 A small gauntlet, light and carefully articulated. Ornamented by embossed dots and low parallel ridges in the order of ~~ three. Defenses for fingers lacking. Gad- ~'.' lings present on the knuckle segment, base of thumb, and ulnar eminence of wrist plate. It bears a poinc;on.


91

GAUNTLET Spanish 1500

Jousting mitten of single piece, with large, upturned symmetrical cuff. Illustration, pI. XXXIV.


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CATALOGUE OF ARM OR

92 GAUNTLET German 1500 An early type of Maximilian mitten, without fluting, articulating accurately over knuckles and fingers.


93 GAUNTLET German 1515 Maximilian mitten, but without fluting; narrow in the wrist and with no less than five metacarpal lames. Carefully articulated. In excellent preservation.


94 GAUNTLET German 1535

. An example of the" forbidden" gaundet, which could be locked about the grip of the sword so that the wearer could not be disarmed. The hand, even the thumb, was entirely protected. The present gaundet is of excellent workmanship, prepared probably by ]org Seusenhofer of Innsbruck, who made harnesses for the Imperial Court; it is well preserved, and retains its original lining. Illustration, pI. XXXV.


95 GAUNTLET Ita/ian ABOUT 1575 Richly embossed and nielle in silver and gold. A wide median band bears trophies and near the hinder border a medallion picturing a figure in classical costume: the

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PLATE XXVII

POURPOINT, XVI CENTURY

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PLATE XXVIII

EARLY HEAD PIECES, XI-XV CENTURY

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CATALOGUE OF ARMOR

cufi of the gauntlet bears also a wide marginal band decorated with trophies. Formerly in Collection Clave (Bordeaux). Illustration, pI. .xxXV.

Lent hI Ambrose Monell.

96 GAUNTLET French ABOUT 1575 The cuff is decorated with a winged caryatid, on either side of which appears renaissance foliation on spiral branches. Illustration, pI. XXXV.

Lent hI Ambrose Monell.

97 GAUNTLET French 1565 Decorated with bands, parcel gilt, delicately etched in renaissance foliation and medallions.

Lent hI Bashford Dean.

98 GAUNTLET German 1580 Decorated with etched and gilded bands, of which the median one is of great width. In these there are interlacing smaller bands in the formal style of W 01£ of Landshut. The general surface of the gauntlet is blued. From the Collection Beshistach (Constantinople).


99 GAUNTLET French ABOUT 1590 The long and wide cuff is boldly embossed with a scene of battle, in which appears a background of for-

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CATALOGUE OF ARM OR

tifications. The gauntlet was originally richly gilded. Formerly in the collection of Baronne de Marbot. Illustration. pI. XXXV.

GAUNTLET


100

French 1600 Decorated with areas etched and gilded, between which are russeted bands.


101

GAUNTLET French ( ?) ABOUT 1630 A gantelet de prise, the palmar region of the glove having been covered with chain mail so that it could seize a sword blade, a form of gauntlet which developed at this time from a fashion in fencing. Cuff long, articulating by two extra lames at the wrist: there were no less than seven metacarpals present and a great number of phalangeal plates, about twenty: these imbricate toward the knuckle. Decorated with undulating ridges and margins; near the rim of the cuff there appears a delicate pattern of interlacing ribbons incised and gilded. The general surface of the gauntlet is russeted. With this is shown the palmar surface of a gantelet de prise. From the Collection Jacquet.


102

GAUNTLET French 1610

Cuff, wide and long. The entire gauntlet gilded. Lent by Bashford Dean.

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CATALOGUE OF ARMOR

I03 ELBOW GAUNTLET English 1640 Formed of imbricating bands of buff leather, with scalloped margins. From Meyrick collection.


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HORSE TRAPPINGS

104 HORSE FRONTAL German

EARLY XVI CENTURY Probably made for a Spanish noble. With embossed median keel, angular snout, and prominent eye-defenses. Decorated by bands and coils. These are grooved and are etched in the style of Floettner. Illustration, pI. XXXVI.


105 BIT XVI CENTURY Complete, with lateral roueUes and chains. Illustration, pI. XXXVI


106 DEMI-CHAMFRON German ABOUT 1560 Enriched with bands etched and gilded, the background in certain areas etched and blackened. From its decoration it evidently belonged to a harness of Philip 11, now in the Madrid Armory, prepared by the master armorer, Wolf of Landshut. (A number of objects

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PLATE XXIX

SALADES AND ARMETS, XV CENTURY


PLATE XXX

BURGANETS, XVI CENTURY

CATALOGUE OF ARMOR

from the Madrid Armory found their way to England about 1830 and were there sold.) Illustration, pI. XXXVII.

Lent by' Frank Gair Macomber.

107 PORTION OF HORSE ARMOR German

ABOUT 1590 A plate which belonged below the saddle on the left side. Its lower margin is enriched with a broad band formed of embossed arabesques in part gilded. Above this there is a second, parallel band, decorated with etching. Formerly in the Meyrick collection. Illustration, pI. XXXVII.


108 Two PORTIONS OF ARMOR OF SADDLE

German 1540 Decorated with wide border and large central foliation. This is etched; the background is in part blackened, in part gilded; the blackened areas are relieved by bright round points. Probably of Augsburg workmanship. Formerly in the Zschille collection and from the sale of Lord Hastings. Portions of the same harness are in the Artillery Museum, Paris. Illustration, pI. XXVII.

Lent by Frank Gair Macombl'r.

109 BIT North Italian 1570 Elaborately chiseled with grotesque heads and acanthus foliation. It bears evidence of having been gilded. Illustration, pI. XLVI.


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CATALOGUE OF ARMOR

IIO

SPURS French LATB XIII OR. E.AR.LY XIV CBNTUR.Y

Of gilded bronze, enriched with cabochon stones and enamel. The decoration includes numerous perforated trefoils and quatrefoils, as on rowels, on foliated ornaments at base of shank, on escutcheon plate, and on the attaches, all of which are preserved. A blazon is present, of the family de Goth. These objects come from the church of Villandraut, where Bertrand de Goth was buried in 1324. Illustration. pI. XXXVI.


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CLAYMORE

SWORDS

III

Scottish XV-XVI CENTURY Scottish "claymores" are derived from the Italian schiavona of the late 16th and 17th centuries. The present is the original claidheamh-mor, or great sword, cross- Ft hilted, double-handed, a type of extreme rar- :.J ity. Drummond's An-cient Scottish Weap- ons pictures eight of these ancient sworc~s, ~ and the total number now existing in pri- ... vate collections would probably be not greater than seven. Among these the present example deserves high rank from its com- it plete condition and its early period. It has the small pommel in~

tact and a perfect guard, dating probably from the 15th century. The blade bears the mark of the running wolf and cross of Solingen, together with the accompanying mark: the blade may have been added in the 16th cen tury. Formerly in the possession of the Marquis of Bredalbane. Later from the de Cosson collection. Illustration, pI. XLVII.


112-117

SWORDS German~Swiss EARLY XVI CENTURY Group of six maximilian swords.


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CATALOGUE OF ARMOR

lIS SWORD Italian . BLADB ABOUT 1510 Base of the blade is elaborately etched by Ercole di Fideli (blade-smith of Cc!sar Borgia). Formerly in the Zschille collection. Illustration, pI. XXXVIII.


119 DRESS SWORD English(?) 1550 Blade with hinder third elaborately etched, the etched areas filled in with gold. An inscription here reads: NEC. TEMERE. NEC. TIMIDE. INTER. ARMA. SILENT. LEGES. V V G B F S S R V Y. It bears the mark of a unicorn's head (Clems Horn of Solingen). The hilt is of elegant form, retaining the original bluing; the pommel is eight-sided and ftuted; the pas d' ane is of large size, bent pommelward, and filled in with delicate plates ornamented with perforations. A sword of Philip 11 in the Madrid Armory has a similar blade. Formerly in the de Cosson collection. Illustration, pI. XXXVIII.


120 MALCHUS Italian ( ?) DATBD 1553 Blade short and elegant, bearing the mark of a demistag sedent. Hilt with quillons turned alternately up and down, decorated with fine lines, silver and gold on a hatched background. It appears as No. 273 in the Tudor Exhibition. Formerly in the collections de Cosson and Richards. Illustration, pI. XXXVIII.


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PLATE XXXI

AllMETS, BURGANETS, MORIONS, XVI CENTURY

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PLATE XXXII

COLLETINS, XVI CENTURY

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CATALOGUE OF ARM OR

121

FLAMBERGE German DATED 1553 Retaining original fusee and leather sheath around base of blade. Formerly in the Nast collection.


122

FLAMBERGE German 1570 From Munich Arsenal. Formerly in the Nast collection.


123 RAPIER Italian 1575 With annular guard; enriched with plaquettes in silver.


124 SWORD-CARRIER German ( ?) ABOUT 1590 The sword was supported by twelve small straps held by gilded buckles. The upper portion of the carrier, divided into two parts, is ornamented with chevronshaped bands of perforated leather applied over green silk. Illustration. pI. XL.


125 RAPIER French ABOUT 1590 Remarkable in preserving original bluing and the leather shank around base of blade. The blade itself is Spanish and is signed: JUAN MARTIN (who was swordsmith of Philip 11).


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CATALOGUE OF ARMOR

RAPIER 126

French ABOUT 1590

Hilt preserves its original bluing, and the tip of the pommel indicates that the blade has never been removed; the original sheath is present, retaining the metal ferrule and band. Fonnerly in collections de Ury and Rutherford Stuyvesant.


127 SWORD-CARRIER French ( ?)

EARLY XVII CENTURY.

Formed of two separate flaps attached to belt-hook of gilded iron. Each flap is attached to the carrier with its own buckle and was arranged to hold the sword from three separate loops, each with' its buckle of gilded steel. The carrier is covered with cloth of gold and silver with boldly woven ornament. Formerly in Spitzer collection.


128

HEAVY RAPIER German 1590 An example of the" epee de Jarnac," in the hilt of which a mechanism was present by which the blade could be elongated during use. Hilt is of bronze, gilded finely with trophies, armed figures, and foliation; pommel heavy; quillons long and straight. Base of the blade is etched in conventional ornament in the style of Augsburg. It is said to have formed part of the collection of the Duke of Schwerin. Swords of this type are extremely rare. There is one in the Dres-

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CATALOGUE OF ARMOR

den collection, the sword of Kurfiirst Christian 11, presented in 1610 to his brother Johan Georg. Illustration, pI. XXXIX.


129 DRESS SWORD Augsburg( 1} XVII CENTURY The guard and pommel are of chiseled steel, somewhat in the Brescian style, and represent boldly modeled combats of unicorn and dragon. Illustration, pI. XXXVIII.


130

CORONATION SWORD German EARLY XVII CENTURY

Hilt and scabbard of silver-gilt, elaborately incrusted with foliage and flowers in enamels, with gems, cameos, and a central miniature (enamel) representing the Emperor Mathias( 1}. A number of the stones are of later period. The sword is otherwise in its original condition. The sword of justice and coronation belonged to Prince Jean Schweirand von Kronenberg, Archbishop of Mayence and Elector of the Holy Roman Empire, who crowned the emperors Mathias (1612) and Ferdinand 11 (1620). The sword was preserved in the family of Counts of NesselrodeEhrenshoven, hereditary Grand Marshals of the Duchy of Berg, a dependency of the Palatinate; in 1828 it was presented by Count Franz de NesselrodeEhrenshoven, head of the elder branch of the family, to Count Charles de N esselrode, then minister of for-

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CATALOGUE OF ARMOR

eign affairs and afterwards chancellor of Russia; until recently it was preserved in his family. Illustratio1l, pt XXXIX.


13 1

CLAYMORE Ita/ian EAllLY XVII CENTURY The hilt is richly ornamented with arabesques, fruit, and foliage in incrusted silver. The background is delicately granulated and gilded. The blade (Probably Spanish) is delicately perforated throughout the median groove almost to the top of the blade; the lateral grooves bear the letters M.M.M.M.S.S.S.S. (Maria Santissima) on either side. Illustration. pI. XLVII.


132

RAPIER WITH DAGGER FOR LEFT HAND Spanish XVII CENTURY

Hilts elaborately decorated with chiseling and perforation in foliations, flowers, birds, and dragons; the quillons and branch are enriched with a leaf ornament and terminate in bulbs, decorated in chiseled traceries; the fusees are silver; the steel parts of the hilt were originally blued; the blades are Toledan and bear on one side the inscription MARIA-CONCEBIDA, and on the other SIN PECADO ORIGINAL. It is extremely rare that the left-hand dagger is preserved accompanying its sword. Illustration, pI. XXXVIII.


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PLATE XXXIII

SHIELDS, XVI CENTURY


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CATALOGUE OF ARMOR

133 BROADSWORD English 1650 Basket hilt of Commonwealth or "Mortuary Type," chiseled, pierced, and chased, showing armored horsemen and pikemen armed with limstocks and matchlocks. The blade is of admirable workmanship, is dated, bears the arms of England and Ireland and the inscription For the Commonwealth of England. From the Brett Collection. "This fine sword is supposed to have belonged to Oliver Cromwell, the Protector. It was formerly in a museum in Warwickshire" (see Brett Catalogue, p. 38). From data given to its present owner by Guy Francis Laking it had long been preserved in Cromwell's family. Illustration, pI. XXXVIII.


SCHIAVONA 134

Italian LATE XVII CENTURY Used as "Claymore" (see Drummond's Ancient Scottish Arms). Pommel entire, with well marked base, octangular in section. Blade double-edged, with median groove, which extends nearly to the tip of the blade. Illustration, pI. XLVII.

Lent by Alexander McMiIlan Welch.

134a SCHIAVONA Italian LATE XVII CENTURY 'I P~mmel shield-shaped. Blade double edged,

bears the letters F L and the accompanying North Italian mark.

Illustration, pI. XLVII. Lent by Alexander McMillan Welch.

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CATALOGUE OF ARM OR

135 DRESS SWORD Strasburg ABOUT 1700

Hilt of chiseled steel, decorated' with elaborate foliation and with inset bronze plaquettes, picturing classical heads. l/lustration, pI. XXXVIII.


136 HILT OF COURT SWORD German(?)

1700

Of silver, cast, chiseled, and gilded. Decorated profusely; guard pictures battle scenes in baroque medallions; fusee with allegorical figures; pommel with lion of Savoy and battle flags; branch with in-bent ornament making niche for allegorical figure. Belonged to Prince Eugene of Savoy (see Pro. Numismatic and Antiquarian Society of Philadelphia, March 5, 1903). Illustration, pI. XL. Lent by Cornelius Stevenson.

137 CLAYMORE Scottish XVII CENTURY Guard of unusual size.

Lent by William B. Osgood Field. . 138

CLAYMORE Scottish ABOUT 1700

Blade tapering acutely, rhombus-shaped in sec-tion, ornamented with areas hollowed out along ..:a. midrib; it bears the' accompanying mark -0 Pommel entire, ornamented with three merid-ional grooves. Illustration, pI. XLVII.

Lent by Alexander McMillan Welch.

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CATALOGUE OF ARMOR

139 CLAYMORE Scottish ABOUT 1710

Of elegant workman- A ship. Blade bears the name of Andrea Fe- ""c:I rara. Hilt bears the name T. GEM MILL, \l1 R. ARMOURER, and the mark, a Scottish lion under a crown. Illustration, pI. XLVII.



Blade heavy, single-edged. Guard of twisted rods. Pommel decorated with eight meridional grooves. Illustration, pI. XLVII.



Blade double-edged, signed" Andria Ferara," bearing at the same time the wolf mark. Pommel divided longitudinally with four grooves. Illustration, pI. XLVII.


142 DAGGER German IX CENTURY(?) Hilt shc:athed on each side with a bone: this is ornamented with sets of transverse lines and rows of circles. Blade single-edged, slightly deflected below the axis of the hilt. Dug up in Bamberg. Illustration, pI. LXI.

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143 DAGGER HILT Yenetian 1300(1) Hilt of elephant ivory, heavy, elliptical in section, elaborately carved a jour. Fusee has for motive a combat of dragons, treated in a way which suggests the traceries of thirteenth-century illuminations; the pommel, bordered with a byzantine ornament, represents the winged lion of St. Mark. (Blade added.) Illustration, pI. XLI.


144 DAGGER German 1375 Pommel missing; the grip and hilt of boxwood, curiously shaped, decorated with silver nails and silver wire. Blade long, flattened, diamond-shaped in section. Found in the Rhine. Illustration, pI. XLII.

Lent by Henry G. Keasbey.

145 DAGGER Belgian END OF XIV CENTURY OR EARLY XV CENTURY

Hilt of boxwood (?) semi-fossilized, cut in close-set pyramidal ornament. Pommel antennaform. Formerly in the Spitzer collection. Illustration, pI. XLI.


146 DAGGER A ROUELLE South German

EARLY XV CENTURY

Grip restored. Illustration, pI. XLI. Lent by Bashford Dean.

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PLATE XXXVI

REINFORCING PLATES, CHAMFRON, SPURL AND BIT

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CATALOGUE OF ARMOR

147 DAGGER English ( ?)

MIDDLE OF XV CENTURY Grip of knotted wood (boxwood?) capped with a bronze circular pommel, faceted and decorated with incised lines. Quillons of bronze, treated en torsade and decorated with incised lines. Blade long and stout, triangular in section, the back partly cut out in gothic manner. On one side an armorer's mark in gold. Found in the Thames. Illustration, pI. XLII.


148 DAGGER Flemish MIDDLE OF XV CENTURY Of type "a rognons." Hilt of hard wood, semifossilized, carved en torsade. Guard follows closely the small "rognons" and terminates in two small trefoils which project over the back and edge of the blade. A similar dagger appears in a painting by Bouts in the Brussels Museum. Illustration, pI. XLI.


148a SHORT DAGGER OF CINQUEDEA TYPE

North Italian MIDDLE OF XV CENTURY From the Thill collection. Illustration, pI. XLI.


149 DAGGER A ROUELLE Englisll 1400

Pommel semi-lenticular, of two plates: grip of iron faceted and expanded in the middle; guard plate cir-

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CATALOGUE OF ARMOR

cular. Blade single-edged; on one side an armorer's mark inlaid. Found in the Thames. Illustration, pI. XLII.


150

DAGGER A ROGNONS English 1400 Named from the kidney-shaped lobes at the base of the hilt. Illustration. pI. XLI.


15 1

DAGGER A ROGNONS Illustration, pI. XLI.

Flemish


152

DAGGER A ROGNONS xv CENTURY

Burgundian

Grip restored, base of blade with inscription: Martamoi. Illustration, pI. XLI.


153 DAGGER A ROGNONS

xv CENTURY

German

Wooden grip capped with a circular cap or pommel, of latten, decorated with incised ornamentation. A latten cylinder covers the lower end of the grip and from it depend the quillons of the " dague a rogoons ..

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CATALOGUE OF ARMOR

type, both quillons and cylinder decorated with incised lines. Blade of diamond section, its recasso short. Illustration, pI. XLII.


154 D AGGER German XV CENTURY

Blade" long, in section pentangular near the base, square toward the tip, its shape giving it leverage in opening a link of chain mail. Grip of elephant ivory, fashioned with four rows of eminences, made conspicuous by inset knobs of black horn. Pommel and guard of silver, the latter a small rouelle; these silver parts were deeply oxidized, and were removed and injudiciously restored. Found in a tomb in a church near Munich. Formerly in collections Gimbel and Niemeyer. Illustration, pI. XLI.


155 DAGGER AND SHEATH

English (or German) 1480-1500 Hilt of ebony widening to form a faceted, cone-shaped pommel. Short quillons droop over the blade, and are sheathed on their inner side with a plate of silver. This is decorated with incised lines and is attached to the quillons by rivets with silver rosetted heads. Blade long, narrow and stout, of diamond section, and etched and gilt with arabesques and foliage; it bears on each side an armorer's mark, filled in with copper. Found in a cottage at Weldrake, Yorkshire, England, in 1846.

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CATALOGUE OF A R M 0 R

The leather sheath was found during excavations on the side of the ancient moat which enclosed the city of London. Sheath of cuir bouilli having on the front a small scabbard for knife and skewer; at the back three loops for attachment to the belt: it is decorated with a tooled pattern of fern-leaf. Sheath of about the same date as the dagger. Formerly in the Laking collection. ll/ustration, pI. XLII.


156 DAGGER German SECOND HALF XV CENTURY Pommel of wood, hemispherical. Three small· quilIons of the "dague a rognon" type droop over the blade. This is long, narrow, triangular in section, and inlaid in gold in Gothic lettering H I L F M A R I A. Illustration, pI. XLII.


157 HIGHLAND DIRK (BIODAG) Scottish

XVI CENTURY( ?)* With the original stamped leather sheath and small knife (sgian). Grip of the dirk is of boxwood carved with Celtic designs of strap-work and capped with an

• It is puzzling to assign dates to dirks of this type: asa rule they are more modern than their style indicates. The present specimen suggests an early period,-XV century: on the other hand, Drummond's Ancient Scottish Weapons pictures a somewhat similar dirk which bears the date 1680. Another example, in Campbell's Highland Dress, Arms and Ornament, is dated 1540 on the authority of Seymour Lucas.

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, PLATE XXXVII

HORSE ARMOR AND PARADE ARM OR, XVI CENTURY

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CATALOGUE OF ARMOR

oval silver pommel. Blade single-edged, broad-backed, running rapidly to a point. Sgian has a spiral boxwood grip, knobbed at the top and middle, carved with interlacing strap-work; blade double-edged. The leather sheath is decorated with stamped designs, and bears the initials I C. On its front is a small scabbard for the sgian. From the collection of Homer Dixon, who bought the dirk in Canada. Illustrated and described in North's Book of the Club of the True Highlanders. From the collection of John Clements. Illustration, pI. XLII.


D IRK Scottish ABOUT 1700

With scabbard, small knife and fork. Grip with Celtic ornament, strap-work interlaced, relieved at all corners with silver nails. Ends of the handles are of silver, that of the dirk engraved with the arms of Drummond, Earl of Perth. Silver mountings of the scabbard of later date; on the upper mounting appears the inscription, "From Clementina Lady Perth to J ames Miller as the best performer of the Ancient Highland Sword Dance, at the meeting of St. Fillan's Gaelic Society, 1822." The arm itself, with the engraved blazon, dates from the end of the seventeenth century; it may have belonged to James, third Earl of Perth, created 1686. Illustration, pI. XLVII ..


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CATALOGUE OF ARMOR

159 D IRK Scottish ABoUT 1750 Grip decorated with interlaced strap-work in Celtic· style. lI/"strlllio", pt XLVII.

Lent", Alexander McMillan Welch.

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SHAFTED WEAPONS

160 MACE German(?) ABOUT 1480 With large rouelle and grip, twisted shaft, and head composed of six flanges. These are produced in acute points and pierced with trefoil ornament.


161 MACE English ABOUT 1500

With rouelle and grip somewhat hexagonal, with lobate margin. Shaft hexagonal in section, head composed of six flanges. These are acutely pointed, decorated with bosses, bands of inset brass, and perforations. Formerly in the Meyrick Collection.


HALBERD Swiss LATE XIV CENTURY Blade narrow, square-cornered, produced in a flat terminal tip.


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CATALOGUE OF A R MO R

163 HALBERD Swiss EARLY XV CENTURY

Blade heavy and drawn out anterior-

~ square - cornered, ~ ly into a .mort tip.


164 LUCERNE HAMMER GO Bears the accompanying mark: U

1500

COUSA Wide bladed form, tation, bearing the acthe Zurich Arsenal ( ?).

AHLSPIESSE


165 Swiss 1500

'

with incised ornamencompanymg mark of


166 Swiss XV CENTURY

A pair, with original rondelles, one having a poin~n (a shield bearing a 0 Swiss cross) thrice repeated on two sides, opposite, of the long quadrangular blade. From the Lucerne Arsenal.

rr.ent by Bashford Dean.

167 VOUGE Scottish XV CENTURY

Example of Jedburgh-axe. Lent by Bashford Dean.

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PLATE XXXIX

" JARNAC" SWORD AND CORONATION SWORD,

XVI-XVII CENTURY

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PLATE XL

SWORD HILT, XVIII CENTURY, AND SWORD CARRIER, XVI CENTURY

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CATALOGUE OF ARM OR

168 GUISARME Italian ABOUT 1525 Ornaments etched, their background gilded. Near the base of the blade appear battle scenes with closely grouped figures.' Workmanship probably Milanese. Illustration, pI. XLV.

Lent by Robert W. de Forest.

169 GUISARME Itlllian ABOUT 1530 U ndecorated, but of graceful form and best workmanship. A bronze band separates the blade from the attache of the shaft.


170

SPETUM German ( ?) ABOUT 1530 With lateral processes greatly produced. It bears the accompanying mark: '.ID Lent by Bashford Dean.

171

WAR HAMMER Probably German 1550 Head is short and provided at its side with a projecting flange by which it can be attached to either belt or saddle. Shaft is rectangular in section and is completely enclosed in metal.


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CATALOGUE OF ARMOR

FAUCHARD North Italian MIDDLE OF XVI CENTURY

Blade is enriched with incised ornaments; these include animals, monsters, warriors, foliation, and in a central medallion the cross of Savoy. The lateral prong is trifid, in the Venetian fashion. Illustration, pI. XLV.


173

STEEL HEAD OF BANNER SHAFT French 1550

In the form of a beautifully chiseled fleur-de-lis. This object was long in the possession of the Pembroke family and is said to have belonged to William, Earl of Pembroke, K. G., who cooperated with the Spanish forces at St. Quentin (1557); and to have been taken during the siege. Formerly in the Shandon and Gurney collections. Illustration, pI. XXXVII.


174

HALBERD Swiss 1550 Remarkable in preserving beak and blade of Gothic form: the terminal is broadly lanceolate, indicating a later period. Probably from the arsenal in Zurich.


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HALBBBD

UE

175

OF

French

R

570 Shaft is and square in is decorated witd perforations of simple, dut eBective form; its cutting border is produced in heavy prongs; its beak is noteworthy for a spine-shaped process, arising from the upper border.

HALRRB Head


fistrian LATE

with etched oman1snt;; CnNnnRY

dack-ground dlackened, relieved by dots. ()n one face appear the letters: F.H.Z.O. (Ferdinand Herzog zu Ostereich) and the Austrian ragged cross. On the other face are the same initials, separated by the arms of the archduke. Illustration, XLV.

by Mrs. Ruth;;Bunl

177 WAR Polish LATE

Shaft and head are decorated sparingly with incised lines. The pointed end of the hammer is quadrangular in section. From the side of the head projects a flange by which the arm may be attached to a belt or saddle. Handle is of the rondelle type and from the front guard extends probably for th,: ,~"tch

ing a by Mrs. Ruthudurd

71

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178 BEAR SPEAR German 1590 Head broad and heavy, decorated with closely etched ornament, probably of Augsburg workmanship. An original shaft is present, closely pounced with rings of scaie-shaped ornaments.


179 HALBERD German 1600 Blade richly etched in the style of Nuremberg. It has short cutting edge and the broad-bladed apex typical of the earliest 17th century. An original shaft is present closely pounced in rows of scales.


180

HALBERD Austrian DATED 1613 Biide of large size, elaborately engraved. It bears the blazon of the' Emperor Mathias, the Imperial crown and his cipher. In these the etching shows evidence of having been originally filled with gold. Illustration, plate XLV.


181

HALBERD-SPONTOON Flemish ( ?) 1670 The beak: and cutting blades are greatly reduced in size, fashioned as dragons with heads apposed, decorated with incised lines and tracery.


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CATALOGUE OF ARMOR

182

P ARTISAN French 1710

Elaborately decorated with trophies and insignia executed by engraving and chiseling a jour, relieved with 'l'usseting, silvering, and gilding. I t was carried by an officer of the personal guard of Louis XIV. Formerly in the Meyrick collection. Illustration, plate XLV.


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CROSSBOWS, FIRE ARMS, AND ACCESSORIES

183 STIRRUP CROSSBOW

LATB XV OR EARLY XVI CBNTURY A metal cap which attaches the windlass to the shaft is ornamented with perforations in Gothic style.


. 184 CROSSBOW AND WINDER ABOUT 1580 Shaft encrusted with bone, upon which appear incised ornaments.


185 CROSSBOW AND WINDER German

ABOtJT 1590 Shaft encrusted with bone along its upper margin. Its lower part is decorated with inset foliation in bone, on which is pictured a crowned double-headed eagle. The sight is furnished with a wind-gage.


185a CROSSBOW AND WINDER German

ABOUT 1590 Shaft boldly decorated with inlaid bone picturing an Austrian eagle. Details represented by incised lines.


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CATALOGUE OF ARMOR

This and the two preceding crossbows are believed to have belonged to the guild of crossbow makers of Leipzig.

186 CROSSBOW (PRODD) Spanish

ABOUT 1580

Handle ornamented with boldly carved head. Lent by Mrs. Rutherfurd Stuyvesant.

187 W HEEL-LOCK RIFLE German

LATB XVI CBNTURY

Barrel octangular, ornamented with etching forming closely set dots. It bears the Breslau mark Wand the flask-shaped poin~n. The stock is closely incrusted with bands of bone and engraved with hunting scenes; between these bands are closely set figures in bone, appearing as silhouettes, birds and quadrupeds, forming altogether almost a natural history of the period: it pictures such exotic forms as parrots, peacocks, ibis, giraffe, camel, rhinoceros, and apes, with an occasional Gesnerian monster •. Illustration, pI. XLIV.


188 POWDER FLASK Nuremberg

LATE XVI CBNTURY

Of gilt bronze in the form of a forked antler, richly ornamented with arabesques, foliation, and figures of the chase. A central ornament represents the expul-sion from Paradise. Illustration, pI. XLVI.


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CATALOGUE OF ARMOR

189 POWDER HORN German LATE XVI CENTURY Formed of prong of stag antler, boldly engraved and ornamented at each tip with bronze caps cast with ornaments of foliation and figures of the hunt. Probably Nuremberg workmanship., Illustration, pI. XLVI.


1<)0

KEY OF HARQUEBUS ABOUT 1600

North Italian

Elaborately wrought in chiseled steel, ornamented with foliation and masks.


191

WHEEL-LOCK PISTOL German ABOUT 1600

Barrel, lock, trigger guard, and metal butt enriched with lines and foliation in gold and silver. Design suggests Augsburg workmanship. Stock of walnut burl.


192

DOUBLE BARRELED WHEEL-LOCK PISTOL 8axon(?) DATED 1604 Barrels lie one above the other; lock-plate, plain; springs and guards decorated with marginal foliation and with perforated caps covering wheels. Stock of

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PLATE XLIII

PISTOLS, XVI-XIX CENTURY


PLATE XLIV

GUNS, XVI-XIX CENTURY

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CATALOGUE OF ARMOR

pearwood, enriched with lines of inlaid bone engraved with bands and foliation. Illustration, pI. XLIII.


193 WHEEL-LOCK, SMOOTH BORE

Tyrolese(?) 1625 Lock and barrel plain, but of superior workmanship. Stock elaborately sculptured, bearing hunting scenes, masks, foliations, and arabesques. On a small medallion near the base of the barrel is the inscription: JOHN PAVLVS 1625; on the projecting margin of the stock (left side) is a large plaquette of mother-ofpearl engraved with the arms of the Fugger family of Augsburg. Lock plate bears the poin!i;on of a head. Illustration, pt XLIV.


194 WHEEL-LOCK PISTOL Swiss 1640 Barrel gilded and decorated with foliation; it bears the inscription FELIX WEERDER FECIT. LIGURI ANNO 1640. Lock plate is similarly gilded and decorated. Butt is ornamented with a grotesque mask.


19:5 FLINT-LOCK PISTOLS (PAIR)

XVII CENTURY

Spanish

Barrel bell-mouthed, decorated with inset flowers and foliage in brass and with a poin!i;on bearing a crown with the inscription: MARIA. NOSA. NCH. Z.

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CATAL'()GUE OF A R MO R

The stock is closely incrusted with silver plates crudely filigree in type, with bands of silver and with closely set small silver studs.


196 PISTOL Brescian 1700

Barrel signed Lazarino Cominazzo ( d. 1696), the lock Francesco Garal. Stock is of walnut burl inlaid with filigree ornament of flowers and foliation.


196a PISTOLS (PAIR) Scottish

EARLY XVII CENTURY

Admirable examples of the work of John CampbeU (of Perth) ; barrels and handles decorated with Celtic traceries damaskeened in silver and bronze. Illustration, pI. XLVII.


197 POWDER FLASK Saxon

EARLY XVII CENTURY

Decorated in the style of Bouhl, with background of tortoise shell having inlaid ornaments of gilded brass. The front of the powder-flask bears the arms of Saxony.


198 PISTOLS (PAIR) Italian

EARLY XVIII CENTURY

Barrel bears an inset poin~on of bronze representing a giraffe. Lock with delicately chiseled ornamenta-

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CATALOGUE OF ARMOR

tion. Stock of walnut with carved ornament incrusted with steel. Metal parts chiseled in low relief.


199 LIGHT FOWLING-PIECE

EARLY XVIII CENTURY

Italian

Barrel signed, GIO. LAZARINO COMINAZZO. Lock plate, hammer, steel trigger, trigger guard, ramrod, support, and metal shoulder plate elaborately ornamented in Brescian style. Stock is hinged for convenience in carrying.


200

FLINT-LOCK PISTOLS (PAIR) Brescian ABOUT 1730

Barrels signed Vicenzo Cominazzo, and decorated with chiseled lines and ornaments including mask and acanthus leaf. Lock with chiseled ornamentation and the inscription: ERME IN BRESCIA. Stock of walnut with heavy mountings in chiseled steel, decorated with dragons, masks, and foliation.


201

SHOT-GUN French DATED 1801

Double-barreled fowling piece, from the Imperial Factory at Versailles (Boutet). Barrels and batteries elaborately ornamented with designs incrusted in gold and silver. Prepared by order of Napoleon for the (later) Duke of Moskouva. Illustration, pI. XLIV.

Lent by Frederick Sherman Rook.

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CATALOGUE OF ARMOR

202

PISTOL AND PAIR OF PISTOLS French 1805

By Boutet. Admirably preserved. Ornamented with etching. Illustration, pI. XLIII.


203 PISTOL Italian Bears the mark of Pistoija.


204 PISTOL Brescian 1650 Wheel-lock. Bears the name of Lazarino Cominazo.


205 PISTOLS (PAIR) Milanese 1775


206 PISTOLS (PAIR) French 1780 By Le Hollandais. Illustration, pt XLIII.


20'] PISTOLS (PAIR) French 1810 By Pirmet. Stocks elaborately enriched by inset designs in silver. In perfect preservation and in original case, with numerous accessories. Illustration, pt XLIII.


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PLATE XLVI

BIT AND POWDER HORNS, XVI-XVII CENTURY

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CATALOGUE OF ARMOR

208

PISTOLS (PAIR) Spanish 1800

By Barzabal. Best type of Spanish workmanship and in perfect preservation. Illustration, pI. XLIII.


209 PISTOLS (PAIR) French 1800

By Le Page. In excellent preservation. Ornamented with etched figures. Illustration, pI. XLIII.


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ACCESSORIES TAPESTRIES, BANNERS, ARMORER'S VISE

AND ANVIL

210

GOTHIC TAPESTRY Burgundian 1460 A portion (8'x8') of a large panel of a "Troy" series; Theseus (designated by name) is pictured in princely armor of the third quarter of the XV century j he is armed with a lance and is charging; behind him are his knights, mounted and afoot. The equipments are varied and shown in great detail-Gothic salades, epaulieres, brigandines, mail, all of the richest quality. In many cases the head pieces of the men and the frontals of the horses are ornamented with gilded bands and studded with gems. In the lower right hand corner an arm is shown casting a dart.

Lent by Mrs. Isaac M~ Dyckman.

2II

TAPESTRY Burgundian 1450 A large tapestry (28'3"xI3'9"), probably of Arras workmanship, picturing the siege of a town, the bringing in of spoil, the execution of prisoners, and the use of the stone-throwing cannon, with its shield or mantelet. The armor of the period is represented in numerous examples; some of the harnesses are gilded and show

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CATALOGUE OF ARMOR

long hip-guards a tonnelet; among details we may note plastrons with numerous placcates, several types of jazerans, and two admirable war-hammers. Property of the Museum. Rogers Fund, 1909.

TAPESTRY

212

Flemish LATE XV CENTURY Friedrich von Hauenstaufen returning from the Capture of Constantinople. This gives numerous details of a " florid Gothic" equipment. Dimensions l2'xIO'6".

Lent by Philip Mesier Lydig.

TAPESTRY 213

Flemish LATE XV CENTURY A jousting scene showing interesting types of arms and armor. Note especially the roulles worn over the ear region, defenses of scales, and complete trapping of horses. Dimensions 7' 4" XII' 2".


214

TAPESTRIES Brussels EARLY XVI CENTURY Four tapestries in five panels, picturing Louis XII and Anne de Bretagne. In one of these their marriage is represented, and the personages may be identified; in another Louis XII and his bride visit the Chateau de Romorantin. . . • They furnish admirable details in court costume and arms. Their dimensions are 8' 9" x 10' 9", 13' 2" x 10' 10", 22' 2" x 10' 9", and 15'

3" XII'.


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CATALOGUE OF AR M OR

21 5 EMBROIDERED HANGINGS Spanish

XVII CENTURY Two elaborate examples of ceremonial hangings or reposteros, executed by order of a Prince of Gegenburg, whose arms are emhroidered in velvet with threads of silver and gold, on a background of red Genoese velvet. Hangings of this type were hung from balconies during parades or tournaments.


216

ARMORER'S ANVIL Italian XVI CENTURY Plate almost square. Beak short. Sides decorated by columns and arches, chiseled in full relief out of the body of the anvil. Early anvils are extremely rare; this is unquestionably one of the best examples extant. Frontispiece.


217 ARMORER'S VISE Italian XVII CENTURY Decorated with incised lines and with a head chiseled in relief. Frontispiece.


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PLATE XLVII

SCOTTISH ARMS, XVI-XVIII CENTURY

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BANNERS

BEGINNING at the right of the visitor who enters by the North Door, the banners are numbered in order, around the room.

218 SWISS (Berne) .••••.••. End of XVI Century 219 SPANISH ..•................. XVII " 220 SWISS (Geneva?) ............ XVII " 221 FRENCH ( ?) ............... XVIII " 222 SPANISH .••..•............. XVII " 223 SWISS ..•............•..•... XVII " 224 FLEMISH ( ?) ............... XVIII " 225 SWISS (Lucerne?) .••..••.. -.XVIII " 226 FLEMISH ( ?) •.•........•... XVIII " 227 SPANISH .....••.....•...... XVIII " 228 FLEMISH ( ?) ..•..•......... XVIII "

SOUTH DOOR 239 SPANISH (Royal Standard) .... XVIII Century 240 GERMAN •..•............... XVIII " 241 POLISH ...........•........ XVIII " 242 ITALIAN ( ?) ................ XVIII " 243 ITALIAN (Perugia?) ........ XVIII " 244 SAVOYARD ..•.............. XVIII " 245 AUSTRIAN ................. XVIII " 246 SPANISH ...................... Dated 1758 247 PORTUGUESE: .............. XVIII Century 248 GERMAN (Wurtemberg) ..... XVIII " 249 ENGLISH .................. XVIII " 250 SPORAN (with arms of Wedder-

burn) .....•............. XVIII "

All lent by Clarence H. Mackay, with the exception of Numbers 218,231, 232, these by Bashford Dean.

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BASHFORD DEAN

Murray Hill, New York, New York, 28 October 1867 – 6 December 1928, Battle Creek Sanitarium, Battle Creek, Michigan

Bruce McNaughton Donaldson, 1921

Detroit, Michigan, 6 February 1891 – 12 January 1940, Ann Arbor, Michigan

New York Times: 13 January 1940

PROF. DONALDSON DIES IN LEAP AT ANN ARBOR

Head of Fine-Arts Department at Michigan Had Been Ill

Special to THE NEW YORK TIMES ANN ARBOR, Mich., Jan. 12: Professor Bruce M. Donaldson, 48, head of the Fine Arts Department of the University of Michigan, leaped from a tenth-story window of the tower of the First National Bank Biilding today, landing five stories down on the roof of another part of the building. No one saw the leap, but occupants of the building heard him moaning on the roof. He was dead on arrival at a hospital. Coroner Edwin Ganzhorn gave a preliminary report of suicide, pending investigation. Professor Donaldson was born in Detroit Feb. 9, 1891.* He received at Princeton a B. A. degree in 1913 and an M. A. in 1915. In 1913 and 1914 he was assistant curator of the Department of Decorative Art, in charge of arms and armor, at the Metropolitan Museum of Art, New York City. From 1915 to 1917 he was assistant director of the Albright Art Gallery, Buffalo. He served with the American Expeditionary Forces at Base Hospital 17, Dijon, France, from 1917 to 1919. He came to the University of Michigan in 1919. He had been in poor health lately. * This is incorrect. Bruce McNaughton Donaldson was born in Detroit on 6 February 1891.

First National Bank Building 210-205 South Main St., Ann Arbor, Michigan

the metropolitan museum of art. catalogue of a loan exhibition of arms and armor by bashford dean

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