DOI Heft:
Heft 8
DOI Artikel:Clephan, Robert Coltman: The Wallace Collection of Arms and Armour, [3]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37714#0242
226
Zeitschrift für historische Waffenkunde.
III. Band.
numerous to mention. The rondaches are very
handsome, and form quite a special feature in
the room.
Number 1198.
This remarkable mounted suit, placed so as to
makeany exhaustive examination wellnigh impossible,
is stated to have been removed from the armoury
at Munich by the emperor Napoleon. It is massive
and of imposing porportions. At first sight it looks
homogeneous, but a closer examination reveals the
fact, or great probability, that it is made up of
two suits similar in size, period and style of orna-
mentation; though the themes of enrichment and
their treatment are somewhat different; and appa-
rently not by the same hand.
The pommel-plate (vordere Sattelbogen) j
bears the date 1532.
The armour is banded with figures etched on
a dark dotted ground and gilded — the decoration
on some of the plates is ribbed and fluted, while
on others it is not.
The suit is strikingly similar in character, pro-
portions and enrichment to a mounted harness in
the Musee d’Artillerie, Paris, catalogued G 40, on
which the date 1533 is inscribed, one year later
than that on the suit under discussion; but the Paris
example, besides being holed for jousting plates,
which the other is not, is more complete and in
much better condition. It bears the arms, a lion
rampant on a shield, the mark attributed to Kunz
Lochner ofNuremberg, 1510—1567; and this master
could be no more than 23 years old when the suit
was made -— his father, also Kunz an armoursmith,
is believed to have died in 1527, that is before
the date of this armour; so we may perhaps assume
that the younger Kunz carried on his father’s bu-
siness; and he used the same mark. The massive
form and general character of both suits is sug-
gestive of their having been made by the same
smith and for the same person; and the shields
on the chamfrons on both are charged with the
arms of Bavaria. I did not notice any special
difference in the enrichment on the several plates
of the Paris example, but I was unable to examine
it closely owing to the dull day — it would be
interesting to ascertain if there has possibly been
any interchange of pieces between the suits at
Paris and London?
Armour For The Man.
The crownpiece (Scheitelstück) of the close
helmet has a low comb; and there is a deep and
pointed umbril over the holes for vision. The visor
is in two plates; the chin-piece opening at the
sides; and there is a collar of two broad plates.
The breastplate is globose and gussetted round
the armpits. A figure of the virgin and child is
etched in the centre and gilt. The backplate is
connected with the breastplate by straps of steel,
fitting over Staples, and secured by linchpins. The
tassets curve round the fronts of the thighs in
eleven narrow laminar plates, which terminate in
a roped bordering. There is an arrangement for
shortening the tassets to six plates, by means of
turning rivets and hooks and eyes. The shoulder
pieces are in five plates; and they are holed for upright
neck-guards, which are absent. Such pieces, of
very large dimensions, are present on the Paris
suit. The coudes are heart-shaped and large; gaunt-
lets of the miton type. The cuissards are each in
a single plate, and short; the knee-pieces have
heart-shaped wings. Broadtoed sollerets (Bären-
fiisse), and spurs of eight points.
Armour For The Horse.
The bard is incomplete. The chamfron bears
a spiked shield in the centre; it is charged with
the arms of Bavaria, and hinged to the testera. It
is enriched with trophies and a bordering of clover
leaves, pierced and etched. The crinet is in eleven
plates, and the peytral, bordered with a thick rop-
ing, in seven plates. The crupper and flanchers
are missing. The bridle is in three plates on each
side, hinged together. The saddle (Krippen-
sattel) itself is modern work, but the plates are
original. The trapper also is modern.
The harness is illustrated on Figures I and II.
Number 908.
This elegantly formed armour is an excellent
example of the best work of ab out the middle of
the sixteenth Century, with its characteristic breast-
plate. Only one upright neck-guard is present, but
the other shoulder piece is holed for a fellow. The
pointed tassets, in three plates, are ornamented with
a series of bold clover leaves, etched over; and the
coudes, which have large heart-shaped wings, are
similarly decorated. The vambraces are flanged over
the junction with the coudes. The bordering is a
scale design and gilded scrollwork. The work-
manship of the suit is singularly fine; indeed the
armour is a masterpiece of all time.
Number 864.
Is a russet armour; an effect produced by a
process of oxidisation or firing to a russet colour.
This surface is much more easily kept clean than
that of white armour. The suit was made in Eng-
land,-probably near the year 1580 -— it is of fine
workmanship and most elaborate and perfect in all
its details. The scheme of ornamentation consists
mainly of a sinuous bordering, with a line running
through it; and broad bands, with a design of con-
tinuous and intersecting spiked curves, gilded on a
dark dotted ground through which runs a regulär
zigzag line. The helmet, primarily a burgonet
(Sturmhaube), has a face-guard of triple bars;
Zeitschrift für historische Waffenkunde.
III. Band.
numerous to mention. The rondaches are very
handsome, and form quite a special feature in
the room.
Number 1198.
This remarkable mounted suit, placed so as to
makeany exhaustive examination wellnigh impossible,
is stated to have been removed from the armoury
at Munich by the emperor Napoleon. It is massive
and of imposing porportions. At first sight it looks
homogeneous, but a closer examination reveals the
fact, or great probability, that it is made up of
two suits similar in size, period and style of orna-
mentation; though the themes of enrichment and
their treatment are somewhat different; and appa-
rently not by the same hand.
The pommel-plate (vordere Sattelbogen) j
bears the date 1532.
The armour is banded with figures etched on
a dark dotted ground and gilded — the decoration
on some of the plates is ribbed and fluted, while
on others it is not.
The suit is strikingly similar in character, pro-
portions and enrichment to a mounted harness in
the Musee d’Artillerie, Paris, catalogued G 40, on
which the date 1533 is inscribed, one year later
than that on the suit under discussion; but the Paris
example, besides being holed for jousting plates,
which the other is not, is more complete and in
much better condition. It bears the arms, a lion
rampant on a shield, the mark attributed to Kunz
Lochner ofNuremberg, 1510—1567; and this master
could be no more than 23 years old when the suit
was made -— his father, also Kunz an armoursmith,
is believed to have died in 1527, that is before
the date of this armour; so we may perhaps assume
that the younger Kunz carried on his father’s bu-
siness; and he used the same mark. The massive
form and general character of both suits is sug-
gestive of their having been made by the same
smith and for the same person; and the shields
on the chamfrons on both are charged with the
arms of Bavaria. I did not notice any special
difference in the enrichment on the several plates
of the Paris example, but I was unable to examine
it closely owing to the dull day — it would be
interesting to ascertain if there has possibly been
any interchange of pieces between the suits at
Paris and London?
Armour For The Man.
The crownpiece (Scheitelstück) of the close
helmet has a low comb; and there is a deep and
pointed umbril over the holes for vision. The visor
is in two plates; the chin-piece opening at the
sides; and there is a collar of two broad plates.
The breastplate is globose and gussetted round
the armpits. A figure of the virgin and child is
etched in the centre and gilt. The backplate is
connected with the breastplate by straps of steel,
fitting over Staples, and secured by linchpins. The
tassets curve round the fronts of the thighs in
eleven narrow laminar plates, which terminate in
a roped bordering. There is an arrangement for
shortening the tassets to six plates, by means of
turning rivets and hooks and eyes. The shoulder
pieces are in five plates; and they are holed for upright
neck-guards, which are absent. Such pieces, of
very large dimensions, are present on the Paris
suit. The coudes are heart-shaped and large; gaunt-
lets of the miton type. The cuissards are each in
a single plate, and short; the knee-pieces have
heart-shaped wings. Broadtoed sollerets (Bären-
fiisse), and spurs of eight points.
Armour For The Horse.
The bard is incomplete. The chamfron bears
a spiked shield in the centre; it is charged with
the arms of Bavaria, and hinged to the testera. It
is enriched with trophies and a bordering of clover
leaves, pierced and etched. The crinet is in eleven
plates, and the peytral, bordered with a thick rop-
ing, in seven plates. The crupper and flanchers
are missing. The bridle is in three plates on each
side, hinged together. The saddle (Krippen-
sattel) itself is modern work, but the plates are
original. The trapper also is modern.
The harness is illustrated on Figures I and II.
Number 908.
This elegantly formed armour is an excellent
example of the best work of ab out the middle of
the sixteenth Century, with its characteristic breast-
plate. Only one upright neck-guard is present, but
the other shoulder piece is holed for a fellow. The
pointed tassets, in three plates, are ornamented with
a series of bold clover leaves, etched over; and the
coudes, which have large heart-shaped wings, are
similarly decorated. The vambraces are flanged over
the junction with the coudes. The bordering is a
scale design and gilded scrollwork. The work-
manship of the suit is singularly fine; indeed the
armour is a masterpiece of all time.
Number 864.
Is a russet armour; an effect produced by a
process of oxidisation or firing to a russet colour.
This surface is much more easily kept clean than
that of white armour. The suit was made in Eng-
land,-probably near the year 1580 -— it is of fine
workmanship and most elaborate and perfect in all
its details. The scheme of ornamentation consists
mainly of a sinuous bordering, with a line running
through it; and broad bands, with a design of con-
tinuous and intersecting spiked curves, gilded on a
dark dotted ground through which runs a regulär
zigzag line. The helmet, primarily a burgonet
(Sturmhaube), has a face-guard of triple bars;