DOI Heft:
Heft 7
DOI Artikel:Clephan, Robert Coltman: The Wallace Collection of Arms and Armour, [2]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37714#0202
186
Zeitschrift für historische' Waffenkunde.
III. Band.
ness is of tlie style des sogenannten Pfeifenharnis ches,
obviously copied from the picturesque costume of
the period, example of which may be seen in the
Triumph of Maximilian. The details have been
followed in this instance most faithfully and minu-
tely. The slashes are gilt, and the very fabric of
the material used in the civil dress has been imi-
tated. This interesting suit was acquired from the
Goodrich Court Collection; and it is figured by
Fig. 3'
Mr. Joseph Skelton, F. S. A. in his Arms and
Armour, Vol. I, Plate XIX. Armour preserved of
this description is rare. An example of the style
may be seen at Vienna, in the unfinished suit,
madeHn the year 15u, by Hans Seusenhofer of
Innsbruck, for the emperor Charles V when a boy.
Another" harness attributed to Freiherrn von Rogen-
dorf is of this dass, but the effect of the pufifs and
slashes is produced by engraving rather than em-
bossing, the slashes are blackened; the arm defences
are forged in a series of pleats, descending in
diminishing folds to the wrists. Other examples
may be seen at Paris, Madrid and Stockholm.
The burgonet (Burgunderhelm) of No. 555 does
not belong to the suit, for the scheine of enrich-
ment differs entirely — it is, however, of the same
style and period, and a fine piece of work. It is
somewhat elliptical in form, with five combs dis-
persed over the crown-piece; the visor is bevelled
in indented sections, the plates converging to a
beak-like projection — in fact, the common visor
of „Maximilian“ armour. The breastplate, which
is globose, is finely formed, the pufifs running across
it nearly horizontally, a thick roped rim goes along
the top and round the armpits, as also on the
backplate. The culette or garde-reins entirely
covers the buttocks. The taces are long with two
rows of pufifs and slashes. The tassets, of five
plates, are riveted to them and come nearly to
the knees; they are almost exactly like those
shown on a portrait of Claude de Guise, the date
of which is 1526. The brassards are shapely,
showing coudes with incipient wings. The bend
of the arm is protected by a series of sixteen very
narrow spiints. The rerebraces are ornamented
with thick circular coils to resemble pufifs; while on
the vambraces the pufifs curve from the elbows to
the wrists. An illustration of the suit follows in
Fig. III.
Fluted armour, usually called „Maximilian“, is
represented in this room by Nos. 224, 247 and 454.
The first of these dates from a considerably later
period than does No. 56, which has been described
in Part I. The channelling is ridgecl. Like many
examples of this dass in almost all important
collections, this suit is by no means homogeneous.
The burgonet does not belong to the harness; nor
do the gauntlets. The breastplate is in two plates,
a survival from an earlier period, and it bears the
Nuremberg guild stamp; the placate rises high up
on the breastplate, and its apex is a double eagle,
pierced and etched. Just above it is a projecting
steel eye for the attachment of a reinforcing plate
for the tiltyard; while a little below is a small
embossed heart, the screwhead for securing the
placate; around the armpits are gussets, bordered
by a roped rim standing out nearly half an inch
in the centre. The tapul has a salient projection
a little below the centre, a common feature of the
period of this armour. The backplate stamped
with the Nuremberg guild mark is rimmed like the
breastplate, and towards the bottom a fleur-de-lis
is cut and etched in the same manner as the double
eagle in front. The gorget is in four plates; while
the tassets are attached to the taces by hinges.
The pauldrons, attached on the shoulders by pegs
of steel, are uneven in size, that on the right being
hollowed up. The coudes are small, and the bend
of the arm ir protected by fou.rteen small and very
mobile spiints. The same arrangement is applied
to the backs of the legs, but this is modern work;
indeed the leg armour has been greatly restored.
The sollerets are broadtoed, and besides being
fluted are decorated with a thick rope-like orna-
mentation, running from the toes to the instep.
This suit, a late example of fluted armour, was
Zeitschrift für historische' Waffenkunde.
III. Band.
ness is of tlie style des sogenannten Pfeifenharnis ches,
obviously copied from the picturesque costume of
the period, example of which may be seen in the
Triumph of Maximilian. The details have been
followed in this instance most faithfully and minu-
tely. The slashes are gilt, and the very fabric of
the material used in the civil dress has been imi-
tated. This interesting suit was acquired from the
Goodrich Court Collection; and it is figured by
Fig. 3'
Mr. Joseph Skelton, F. S. A. in his Arms and
Armour, Vol. I, Plate XIX. Armour preserved of
this description is rare. An example of the style
may be seen at Vienna, in the unfinished suit,
madeHn the year 15u, by Hans Seusenhofer of
Innsbruck, for the emperor Charles V when a boy.
Another" harness attributed to Freiherrn von Rogen-
dorf is of this dass, but the effect of the pufifs and
slashes is produced by engraving rather than em-
bossing, the slashes are blackened; the arm defences
are forged in a series of pleats, descending in
diminishing folds to the wrists. Other examples
may be seen at Paris, Madrid and Stockholm.
The burgonet (Burgunderhelm) of No. 555 does
not belong to the suit, for the scheine of enrich-
ment differs entirely — it is, however, of the same
style and period, and a fine piece of work. It is
somewhat elliptical in form, with five combs dis-
persed over the crown-piece; the visor is bevelled
in indented sections, the plates converging to a
beak-like projection — in fact, the common visor
of „Maximilian“ armour. The breastplate, which
is globose, is finely formed, the pufifs running across
it nearly horizontally, a thick roped rim goes along
the top and round the armpits, as also on the
backplate. The culette or garde-reins entirely
covers the buttocks. The taces are long with two
rows of pufifs and slashes. The tassets, of five
plates, are riveted to them and come nearly to
the knees; they are almost exactly like those
shown on a portrait of Claude de Guise, the date
of which is 1526. The brassards are shapely,
showing coudes with incipient wings. The bend
of the arm is protected by a series of sixteen very
narrow spiints. The rerebraces are ornamented
with thick circular coils to resemble pufifs; while on
the vambraces the pufifs curve from the elbows to
the wrists. An illustration of the suit follows in
Fig. III.
Fluted armour, usually called „Maximilian“, is
represented in this room by Nos. 224, 247 and 454.
The first of these dates from a considerably later
period than does No. 56, which has been described
in Part I. The channelling is ridgecl. Like many
examples of this dass in almost all important
collections, this suit is by no means homogeneous.
The burgonet does not belong to the harness; nor
do the gauntlets. The breastplate is in two plates,
a survival from an earlier period, and it bears the
Nuremberg guild stamp; the placate rises high up
on the breastplate, and its apex is a double eagle,
pierced and etched. Just above it is a projecting
steel eye for the attachment of a reinforcing plate
for the tiltyard; while a little below is a small
embossed heart, the screwhead for securing the
placate; around the armpits are gussets, bordered
by a roped rim standing out nearly half an inch
in the centre. The tapul has a salient projection
a little below the centre, a common feature of the
period of this armour. The backplate stamped
with the Nuremberg guild mark is rimmed like the
breastplate, and towards the bottom a fleur-de-lis
is cut and etched in the same manner as the double
eagle in front. The gorget is in four plates; while
the tassets are attached to the taces by hinges.
The pauldrons, attached on the shoulders by pegs
of steel, are uneven in size, that on the right being
hollowed up. The coudes are small, and the bend
of the arm ir protected by fou.rteen small and very
mobile spiints. The same arrangement is applied
to the backs of the legs, but this is modern work;
indeed the leg armour has been greatly restored.
The sollerets are broadtoed, and besides being
fluted are decorated with a thick rope-like orna-
mentation, running from the toes to the instep.
This suit, a late example of fluted armour, was