Metropolitan Museum 1911 Loan Exhibition Catalogue of Arms and Armor

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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 C O N T E ~ T S
LIST OF ILLUSTRATIONS
INTRODUCTION
CATALOGUE
Armor
Swords
Daggers
Shafted Weapons
Crossbows and Fire-arms
v
vu
IX
xv
3
51
59
67
74
Accessories: Tapestries and Miscellaneous 82
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LIST OF ILLUSTRATIONS
~ A C I H O
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
ix
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LIS T
PLATE XXI
XXII
XXIII
OF ILLUSTRATIONS
GERMAN ARMOR About
SAVOY ARD ARMOR "
CHAIN MAIL. XIV and XVI
~ A C I I I C
PAG&
1590 32
1610 33
Cen-
~ r y ~
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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LIS T
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-
~ A C I I f O
PAGE
72
73
7
6
77
80
XVII Century 81
XLVII SCOTTISH ARMS. XVI-XVIII Cen-
tury 84
Xl
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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 appre-
ciate, ,.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 be-
longed, 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 Ne-
groli 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 deco-
ration. 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
xv
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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 for-
mer 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 ar-
morer would emboss to a height of five or more inches,
and cause it to retain at the top of the ridge the maxi-
mum 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 repre-
sentative 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-Peri-
gord, 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. Cata-
logue 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 fore-
most 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 intro-
duced into later suits; and, above all things, their ex-
cellent 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 neg-
lect of state arsenals, especially at the end of the eight-
eenth 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. Eighteenth-
century swords are rare, firearms are uncommon, and
armor, even in fragments, is almost unknown. For
this reason the few separate pieces deserve to be men-
tioned 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, Fitz-
john 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 ob-
jects, 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 vice-
president of the Museum, whose collecting activities
began over half a century ago. Another early col-
lector 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 num-
ber of important arms which he obtained in Europe be-
tween 1850 and 1860, and brought to his home in Yon-
kers; 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 an-
other was Loon Escosura, whose objects, some of
with interesting details of military equipment. There is
a record that an armorer was employed to prepare har-
nesses 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, ap-
peared in blued armor and bore a burganet. Even as late
as the Revolutionary War corselets were occasionally worn.
XIX
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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 West-
chester; Mr. Giovanni P. Morosini, whose armory re-
mains in Riverdale; Mr. O. H. P. Belmont, whose col-
lection, 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 prepar-
ing 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 acquisi-
tion 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.
xx
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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 cen-
tury, 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 thou-
sand 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, fragmen-
tary harness trappings, spurs, and offensive arms. Ac-
tual examples of chain mail, which one associates with
early medieval armor, are rarely older than the fif-
teenth century, if European; for the many specimens in
private collections and museums are Oriental, and not
older than the seventeenth century.
XXI
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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 Bur-
gundian defeats, of Louis XI, of Diirer's Knights-
simple harnesses, elegantly fitted, their parts articulat-
ing 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 struc-
ture. In form, its distinguishing marks include plas-
tron 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 hel-
met, 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 pou-
laine). 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, sumptu-
ous period of the princes of Florence. This style arose
out of the fluted harnesses of the late gothic and de-
veloped 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 gaunt-
lets, tassets of many lames, sometimes continuous with
the thigh-plates, armet with "bellows" visor, and
wide or "bear-toed" sollerets. In all parts beauti-
fully 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 wide-
toed 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 pro-
gressed, 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 ear-
lier 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 improve-
ment in firearms, the general use of which did not
favor costly differences in the quality of similar har-
nesses. 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 (lob-
ster-tail), usually with a brow-peak (umbril) from
which one or more bars descend, shortwaisted corselet,
continuous tassets and cuisses, short hip-guard (bra-
conniere), 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 file-
line, en torsade, and the surfaces of plates were orna-
mented 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 out-
line 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 Mu-
seum, 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, Ma-
drid, Vienna, Nuremberg . ; contemporary repre-
sentations of armor in books (Thewerdanck, Burck-
mair), 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 (di-
ameter 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
3
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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 collec-
tion. (5) Plastron, having Nuremberg mark, dates be-
tween 1380 and 1430: this specimen, from the collec-
tion 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, arch-
ing upward almost to the neck; its apex is broad and
its upper lateral margins crenulate. Sleeves and gaunt-
lets 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 typ-
ical of the period; it is encircled with a decorated
band of brass and may at one time have been com-
pletely inclosed in a lattice work of brass on crest ~ n d
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.
4
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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 Tar-
ragona, 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 orna-
ment. Greaves and sollerets are restored. This har-
ness was obtained from the Duke of Osuna by the
Count del Asalto and formed part of the armory of
Guadamur.
Illustration, pt 11.
s
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CATALOGUE OF ARMOR
4
ARMOR, MOUNTED ON HORSEBACK
Italian ABOUT 1480
A suit composed of elements of several harnesses. Sa-
lade in Spanish style with deep rim bent downward and
encircled with ornamented copper band: buffe with fall-
ing 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 be-
low by ridges indicating that sollerets were not worn.
Horse trappings are of Flemish velvet, fifteenth
century in design, but dating from the sixteenth cen-
tury. Armoring of the saddle authentic, also bit,
stirrups, and stirrup leathers. The bridle also is
original, an early form, retained, however, in Can-
ton Uri until the eighteenth century. Criniere is
of stout riveted ring-mail margined with pointed lap-
pets. 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, gus-
sets, left gauntlet, part of the right knee, saddle
frame.
Illustration, pI. HI.
Lent hy Bashford Dean.
6
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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 de-
fenses, pansiere, palettes, . cubitieres, gauntlets, cuis-
sards, 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 shoul-
der 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 archreo-
logical 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, com-
posed of broad, flattened, riveted links, margined with
three rows of latten rings, riveted. Plastron is boldly
7
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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 projecting 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 speci-
men 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.
8
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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-a-
rondelle. 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 out-
line, but with a metlian keel. Shoulders with garde-
col, of which the left is the higher j shell of dbow-
guard 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 sec-
ond 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 har-
nesses 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 Ma-
drid 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 in-
close 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.
10
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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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j
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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 cen-
tral pivot, allowing greater freedom in raising the
shoulder; it has the early form of elbow guards and
lacks the roped margins typical of maximilian har-
nesses 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 com-
bat 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
II
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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 e l e m e n t s ~ 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 shoul-
der. 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-cen-
tury carving from the armory of the Castle of Heidel-
berg. FOnilerly in Ronalds Collection.
Illustration, pt X.
12
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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 rop-
ing 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. El-
bow 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, en-
riched 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 pe-
riod the groups of fluting no longer appear: in their
13
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CATALOGUE OF ARMOR
place ridged bands occur in various regions. Armet
of elegant form and workman-
ship, with ven- gilt ail a cut e I y
pointed: it is remarkable in pre-
serving 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 Cata-
logue.
Illustration, pI. XIII.
Lent by Mrs. William Rhinelander.
16
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 re-
stored. 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, corse-
let, and gauntlet from a richly etched, in part em-
bossed harness, having engrailed margins in the style
14
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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 back-
ground in the etched bands in alternate areas is black-
ened 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 Land-
shut, of which many pieces are exhibited in the Ar-
meria 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 con-
dition, retaining its original straps and linings. Its
workmanship is excellent, probably of Desiderius Cola-
man (Augsburg). Casque is a high-combed burga-
net, to which a face guard (buffe ) was originally
added. Shoulder defenses have low garde-coI. Plas-
tron 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 be-
lieved 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.
15
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CATALOGUE OF ARM OR
19
COMPLETE ARMOR Italian { ?) ABOUT 1560
A " Pisan " suit with banded ornament, nearly homo-
geneous. It exhibits a number of unusual features.
The tassets are of few lames (seven), but are singu-
larly 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 some-
what early form which is kept in armor worn on horse-
back.
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.
20
Decoration of bands elaborately etched and gilded, in
part embossed, of highest quality. Plastron elegantly
formed. Tassets and splinted cuisses continuous. No
p o i n ~ n s are present, but part of the suit was prob-
ably 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
16
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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 re-
stored. 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 Ar-
mory, its damask of scarlet and yellow dating from
the XVI century.
(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 re-
stored.) This harness was probably at one time blued
17
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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 Man-
tuan 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-
18
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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 fall-
ing 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 scal-
loped 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 orig-
inally blued or russeted. It bears the initials A. H.
26
PARADE ARMOR (Half suit) German(?)
ABOUT 1600
Elaborately embossed. Plastron decorated with a me-
dallion of many lobes, on which appears a combat of cav-
19
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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 rep-
resented 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 Ma-
thias, 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) miss-
ing in the Spitzer sale were obtained a few years ago
from a Paris dealer; these made it possible to attempt
20
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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 sur-
faces russeted. Similar harnesses are preserved in the
Madrid armory, in Turin, in the collections Estruch
(now in Paris in the Pauilhac collection), Medina-
Celi, 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 Ar-
meria 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, how-
ever, 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
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 bracon-
niere-cuisses, which conformed. to the broadly cut cos-
tume of the period. Casque a late type of armet.
21
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CATALOGUE
small, with
elbow defended
OF ARMOR
"','nr,',, shells; the inner
There is evidence:
russeted. R e s ~
d:htence H. Mack'id
edbyGoogle
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 develop-
ment, 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.
3
0
ARMOR-FOR UPPER ARM AND ELBOW
LATE XIV CENTURY
Formerly in the Laking collection.
23
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CATALOGUE OF ARMOR
3
1
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.
3
2
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.
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 extraor-
dinary 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.
3
6
DEMI-PLASTRON (PANSIERE) English ( ?)
t400( ?)
37
DEMI-PLASTRON (PANSIERE) German ( ?)
1450 ( ?)
Worn over shirt-of-mail or jacket of ,hardened leather.
Formerly in the Forrer collection.
3
8
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.
25
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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 orna-
ment 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 ob-
jects were formerly in the Thill collection, Vienna,
and were exhibited in the Tudor Exhibition, London.
(The armet which accompanies these pieces is of simi-
lar period and workmanship. Lent by Bashford Dean.)
Illrlstration, pI. XXV.
4
0
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 but-
ton-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-
26
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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 Nie-
meyer.
Illustration. pt XXVI.
43
REINFORCING PLATES OF JOUSTING
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 mar-
ginal 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.
27
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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 Constan-
tinople 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.
4
6
POURPOINT French ABOUT 1580
Of buff leather, decorated with embroidery and with
lines of gold tinsel; the embroidered ornament is con-
fined to the lower portion of the trunk and to the fore-
arms; the banded ornament, to the shoulders, upper
arms, cuffs and flaps about the waist.
From the collection of Baron de Ury.
Illustration, pI. XXVII.
28
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PLATE XIX
PAPAL AR:\10R, ABOUT 1585
Digitized by Goog[e
PLATE XX
WALLOON ARM OR, ABOUT 1585
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CATALOGUE OF ARMOR
47
J AZERAN Polish ( 1) XVI C E N T U R ~
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.
47
a
COIFFE OF MAIL Swiss. XIV CENTURY
With pointed ear lappets. Formerly in Lucerne Ar-
senal.
From the de Lery collection.
Illustration, pIs. XXVIII, XXIV.
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CASQUES
4
8
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 frag-
ments of mail.
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. Illus-
trated in the Trachten, Bd. Ill, Taf. 181.
30
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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.
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.
31
-11_
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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 ~ ~ i s s a g l i a , 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.
55
ARMETA RONDELLE Italian ABOUT 1490
Admirably modeled and in excellent preservation. It
bears no armorer's mark, but is probably of Milanese
workmanship.
56
ARMETA RONDELLE Italian ABOUT 1490
Similar to the foregoing, but with shorter neck defense.
Formerly in de Cosson collection.
57
ARMET German ABOUT 1515
A Maximilian casque with acutely pointed bellows
visor; timbre unusually elongated.
32
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PLATE XXI
GERMAN ARM OR, ABOUT 1590
PLATE XXII
SAVOYARD ARMOR, ABOUT 1610
Digitized by Goog[e
CATALOGUE OF ARMOR
58
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 direc-
tions. 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 trans-
verse, and terminates above the region of the temple;
low occipital plate separate from the timbre. Prob-
ably of Nuremberg workmanship.
Illustration, pI. XXXI.
59
A russeted casque in remarkable preservation, deco-
rated 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).
Lent by Clarence H. Mackay.
33
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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 orna-
mentation 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 exam-
ining 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 or-
namental 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
34
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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 Ar-
tillery Museum in Paris.
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 geo-
metrical 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.
35
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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 exag-
gerafed type, five inches in height. Richly etched in
Pisan style with strapwork and trophies.
66
COLLETIN German ( ?) 1585
Decoration repousse, silvered and gilt. Central medal-
lions represent battles; framing is strap-work, gilded.
Surrounding this are trophies, birds, and fruit, em-
bossed and silvered. The background is gilded.
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.
36
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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."
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.
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.
37
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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. Color-
ing 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.
Digitized by Google
SHIELDS
7
6
T ARGE Austrian LATE XV CENTURY
Made of elm wood, strengthened by raw-hide and can-
vas, covered with jesso and painted in tempera; it is
decorated in its upper field with two small escutch-
eons, the right or, a Swiss cross gules, the left azure,
a star of six points or. Formerly in the Thill collec-
tion, and in the civic armory of Vienna, whence a
number of targes of this type appear to have been ex-
changed about forty years ago.
77
BUCKLER Spanish LATE XV CENTURY
Wooden, covered with hide, rimmed with iron, and
provided ~ i t h broad conical boss. It bears a hook on
which a lantern may have been suspended.
7
8
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
39
Digitized by Google
CATALOGUE OF ARM OR
shield has been painted and bears the letters GUE-
RERO (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 Span-
ish 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 col-
lection.
RONDACHE
81
Italian 1600
A shield retaining its russet background, upon which
six petal-shaped medallions are engraved. These pic-
ture battle scenes and are brightened by gold and sil-
ver. 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
Digitized by Goog[e
CATALOGUE OF ARM OR
instruments, and foliation. Probably the work of the
Milanese Hieronymo Spachini.
Fornlerly in the Zschille collection.
82
TARGET Highland .ABOUT 1700
Covered with hide stamped with archaic Celtic de-
signs 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
41
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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 leop-
ards in full relief, forming gadlings.
From the Croissat collection.
86
GAUNTIJET English 1440
Gothic mitten, heavy and large. Cuff element lack-
ing; separate articular lames for wrist and metacarpal
segments, the former with small eminence to accom-
modate 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. De-
fenses 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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CATALOGUE OF ARMOR
89
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.
9
0
A small gauntlet, light and carefully articulated. Or-
namented 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.
9
1
GAUNTLET Spanish 1500
Jousting mitten of single piece, with large, upturned
symmetrical cuff.
43
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CATALOGUE
OF ARM OR
92
An early type of Maximilian mitten, without fluting,
articulating accurately over knuckles and fingers.
93
Maximilian mitten, but without fluting; narrow in the
wrist and with no less than five metacarpal lames.
Carefully articulated. In excellent preservation.
94
. 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
44
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PLATE XXVII
POURPOINT, XVI CENTURY
Digitized by Google
PLATE XXVIII
EARLY HEAD PIECES, XI-XV CENTURY
Digitized by Goog[e
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.
9
8
Decorated with etched and gilded bands, of which the
median one is of great width. In these there are in-
terlacing 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-
45
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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 devel-
oped 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.
Digitized by Google
CATALOGUE OF ARMOR
I03
ELBOW GAUNTLET English 1640
Formed of imbricating bands of buff leather, with
scalloped margins.
From Meyrick collection.
47
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HORSE TRAPPINGS
10
4
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 deco-
ration 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
4
8
Digitized by Google
PLATE XXIX
SALADES AND ARMETS, XV CENTURY
PLATE XXX
BURGANETS, XVI CENTURY
CATALOGUE OF ARMOR
from the Madrid Armory found their way to Eng-
land about 1830 and were there sold.)
Lent by' Frank Gair Macomber.
10
7
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.
108
Two PORTIONS OF ARMOR OF SADDLE
German 1540
Decorated with wide border and large central folia-
tion. This is etched; the background is in part black-
ened, in part gilded; the blackened areas are relieved
by bright round points. Probably of Augsburg work-
manship. 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 acan-
thus foliation. It bears evidence of having been gilded.
Illustration, pI. XLVI.
49
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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 perfo-
rated 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 ob-
jects come from the church of Villandraut, where
Bertrand de Goth was buried in 1324.
Illustration. pI. XXXVI.
50
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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 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
tact and a perfect guard, dating probably from the
15th century. The blade bears the mark of the run-
ning wolf and cross of Solingen, together with the ac-
companying mark: the blade may have been added in
the 16th cen tury.
Formerly in the possession of the Marquis of Bredal-
bane. Later from the de Cosson collection.
112-117
SWORDS EARLY XVI CENTURY
Group of six maximilian swords.
51
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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 pommel-
ward, and filled in with delicate plates ornamented
with perforations. A sword of Philip 11 in the Ma-
drid Armory has a similar blade.
Formerly in the de Cosson collection.
120
MALCHUS Italian ( ?) DATBD 1553
Blade short and elegant, bearing the mark of a demi-
stag 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.
52
Digitized by Google
PLATE XXXI
AllMETS, BURGANETS, MORIONS, XVI CENTURY
Digitized by Google
PLATE XXXII
COLLETINS, XVI CENTURY
Digitized by Google
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.
12
3
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 chevron-
shaped bands of perforated leather applied over green
silk.
Illustration. pI. XL.
12
5
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).
53
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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 re-
moved; the original sheath is present, retaining the
metal ferrule and band.
Fonnerly in collections de Ury and Rutherford Stuy-
vesant.
12
7
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 folia-
tion; 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-
54
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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.
12
9
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.
130
CORONATION SWORD German
EARLY XVII CENTURY
Hilt and scabbard of silver-gilt, elaborately incrusted
with foliage and flowers in enamels, with gems, cam-
eos, 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 be-
longed 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 Nesselrode-
Ehrenshoven, hereditary Grand Marshals of the
Duchy of Berg, a dependency of the Palatinate; in
1828 it was presented by Count Franz de Nesselrode-
Ehrenshoven, head of the elder branch of the family,
to Count Charles de N esselrode, then minister of for-
55
Digitized by Google
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 (Prob-
ably 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.
13
2
RAPIER WITH DAGGER FOR LEFT HAND
Spanish XVII CENTURY
Hilts elaborately decorated with chiseling and perfo-
ration 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 pre-
served accompanying its sword.
56
Digitized by Google
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 horse-
men and pikemen armed with limstocks and match-
locks. 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 Warwick-
shire" (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.
SCHIAVONA
134
Italian LATE XVII CENTURY
Used as "Claymore" (see Drummond's Ancient Scot-
tish Arms). Pommel entire, with well marked base,
octangular in section. Blade double-edged, with medi-
an groove, which extends nearly to the tip of the blade.
Lent by Alexander McMiIlan Welch.
134
a
SCHIAVONA Italian LATE XVII CENTURY
'I ~ m m e l shield-shaped. Blade double edged,
bears the letters F L and the accompanying
North Italian mark.
Lent by Alexander McMillan Welch.
57
Digitized by Google
CATALOGUE OF
ARM OR
135
DRESS SWORD Strasburg ABOUT 1700
Hilt of chiseled steel, decorated' with elaborate folia-
tion and with inset bronze plaquettes, picturing classi-
cal heads.
l/lustration, pI. XXXVIII.
13
6
HILT OF COURT SWORD German(?)
1700
Of silver, cast, chiseled, and gilded. Decorated pro-
fusely; guard pictures battle scenes in baroque medal-
lions; fusee with allegorical figures; pommel with lion
of Savoy and battle flags; branch with in-bent orna-
ment making niche for allegorical figure.
Belonged to Prince Eugene of Savoy (see Pro. Numis-
matic 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.
. 13
8
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.
S8
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CATALOGUE OF ARMOR
139
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.
140
Blade heavy, single-edged. Guard of twisted rods.
Pommel decorated with eight meridional grooves.
141
Blade double-edged, signed" Andria Ferara," bearing
at the same time the wolf mark. Pommel divided
longitudinally with four grooves.
142
DAGGER German IX CENTURY(?)
Hilt shc:athed on each side with a bone: this is orna-
mented with sets of transverse lines and rows of cir-
cles. Blade single-edged, slightly deflected below the
axis of the hilt.
Dug up in Bamberg.
Illustration, pI. LXI.
59
Digitized by Google
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, rep-
resents the winged lion of St. Mark. (Blade added.)
Illustration, pI. XLI.
144
DAGGER German 1375
Pommel missing; the grip and hilt of boxwood, curi-
ously shaped, decorated with silver nails and silver
wire. Blade long, flattened, diamond-shaped in sec-
tion. 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.
146
DAGGER A ROUELLE South German
EARLY XV CENTURY
Grip restored.
Illustration, pI. XLI. Lent by Bashford Dean.
60
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PLATE XXXVI
REINFORCING PLATES, CHAMFRON, SPURL AND BIT
Digitized by Goog[e
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.
14
8
DAGGER Flemish MIDDLE OF XV CENTURY
Of type "a rognons." Hilt of hard wood, semi-
fossilized, 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.
14
8a
SHORT DAGGER OF CINQUEDEA TYPE
North Italian MIDDLE OF XV CENTURY
From the Thill collection.
149
DAGGER A ROUELLE Englisll 1400
Pommel semi-lenticular, of two plates: grip of iron
faceted and expanded in the middle; guard plate cir-
61
Digitized by Google
CATALOGUE OF ARMOR
cular. Blade single-edged; on one side an armorer's
mark inlaid.
Found in the Thames.
15
0
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
Flemish
15
2
DAGGER A ROGNONS
xv CENTURY
Burgundian
Grip restored, base of blade with inscription: Marta-
moi.
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 ..
Digitized by Google
CATALOGUE OF ARMOR
type, both quillons and cylinder decorated with in-
cised lines. Blade of diamond section, its recasso short.
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 con-
spicuous 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 in-
judiciously restored.
Found in a tomb in a church near Munich.
Formerly in collections Gimbel and Niemeyer.
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.
Digitized by Google
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 quil-
Ions 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.
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 pic-
tures 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.
64
Digitized by Google
,
PLATE XXXVII
HORSE ARMOR AND PARADE ARM OR, XVI CENTURY
Digitized by Goog[e
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CATALOGUE OF ARMOR
oval silver pommel. Blade single-edged, broad-backed,
running rapidly to a point. Sgian has a spiral box-
wood 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.
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 ap-
pears 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 en-
graved blazon, dates from the end of the seventeenth
century; it may have belonged to James, third Earl of
Perth, created 1686.
Illustration, pI. XLVII ..
65
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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.
66
Digitized by Google
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 lo-
bate margin. Shaft hexagonal in section, head com-
posed of six flanges. These are acutely pointed, deco-
rated with bosses, bands of inset brass, and perfora-
tions.
Formerly in the Meyrick Collection.
HALBERD Swiss LATE XIV CENTURY
Blade narrow, square-cornered, produced in a flat
terminal tip.
67
Digitized by Google
CATALOGUE OF A R MO R
16
3
HALBERD Swiss EARLY XV CENTURY
Blade heavy and
drawn out anterior-
~ square - cornered,
~ ly into a .mort tip.
16
4
LUCERNE HAMMER GO
Bears the accompanying mark: U
1500
COUSA
Wide bladed form,
tation, bearing the ac-
the Zurich Arsenal ( ?).
AHLSPIESSE
16
5
Swiss 1500
'
with incised ornamen-
companymg mark of
166
Swiss XV CENTURY
A pair, with original rondelles, one having a p o i n ~ 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.
16
7
VOUGE Scottish XV CENTURY
Example of Jedburgh-axe.
68
Digitized by Google
PLATE XXXIX
" JARNAC" SWORD AND CORONATION SWORD,
XVI-XVII CENTURY
Digitized by Goog[e
PLATE XL
SWORD HILT, XVIII CENTURY, AND SWORD CARRIER,
XVI CENTURY
Digitized by Goog[e
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.
16
9
GUISARME Itlllian ABOUT 1530
U ndecorated, but of graceful form and best workman-
ship. 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
17
1
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 com-
pletely enclosed in metal.
69
Digitized by Google
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 fam-
ily 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.
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.
70
Digitized by Google
CA
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, aris-
ing from the upper border.
HALRRB
Head
fistrian LATE
with etched oman1snt;;
CnNnnRY
dack-
ground dlackened, relieved by dots. ()n one face ap-
pear 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,: , ~ " t c h
ing a
by Mrs. Ruthudurd
7
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17
8
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 pres-
ent 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, deco-
rated with incised lines and tracery.
72
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CATALOGUE OF ARMOR
182
P ARTISAN French 1710
Elaborately decorated with trophies and insignia exe-
cuted 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. For-
merly in the Meyrick collection.
Illustration, plate XLV.
73
Digitized by Google
CROSSBOWS, FIRE ARMS,
AND ACCESSORIES
18
3
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.
.
18
4
CROSSBOW AND WINDER ABOUT 1580
Shaft encrusted with bone, upon which appear incised
ornaments.
18
5
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.
74
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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.
18
7
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 p o i n ~ 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, form-
ing altogether almost a natural history of the period:
it pictures such exotic forms as parrots, peacocks,
ibis, giraffe, camel, rhinoceros, and apes, with an occa-
sional 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.
7S
Digitized by Google
CATALOGUE OF ARMOR
18
9
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. Prob-
ably Nuremberg workmanship.,
1<)0
KEY OF HARQUEBUS
ABOUT 1600
North Italian
Elaborately wrought in chiseled steel, ornamented with
foliation and masks.
19
1
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 PIS-
TOL 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
76
Dlgitlzedby Google
PLATE XLIII
PISTOLS, XVI-XIX CENTURY
PLATE XLIV
GUNS, XVI-XIX CENTURY
Digitized by Google
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 medal-
lion 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-of-
pearl 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. LI-
GURI 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.
77
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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.
19
6a
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.
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 p o i n ~ o n 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, ram-
rod, support, and metal shoulder plate elaborately or-
namented in Brescian style. Stock is hinged for con-
venience in carrying.
200
FLINT-LOCK PISTOLS (PAIR) Brescian
ABOUT 1730
Barrels signed Vicenzo Cominazzo, and decorated with
chiseled lines and ornaments including mask and acan-
thus 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 Fac-
tory 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.
79
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202
PISTOL AND PAIR OF PISTOLS French
1805
By Boutet. Admirably preserved. Ornamented with
etching.
20
3
PISTOL Italian
Bears the mark of Pistoija.
20
4
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']
By Pirmet. Stocks elaborately enriched by inset de-
signs in silver. In perfect preservation and in origi-
nal case, with numerous accessories.
Illustration, pt XLIII.
80
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--..... ...... -
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PLATE XLVI
BIT AND POWDER HORNS, XVI-XVII CENTURY
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208
PISTOLS (PAIR) Spanish 1800
By Barzabal. Best type of Spanish workmanship and
in perfect preservation.
209
By Le Page. In excellent preservation. Ornamented
with etched figures.
81
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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 cor-
ner 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 bring-
ing in of spoil, the execution of prisoners, and the use of
the stone-throwing cannon, with its shield or mante-
let. The armor of the period is represented in numer-
ous examples; some of the harnesses are gilded and show
82
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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 Cap-
ture of Constantinople. This gives numerous details of
a " florid Gothic" equipment. Dimensions l2'xIO'6".
Lent by Philip Mesier Lydig.
TAPESTRY
21
3
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'.
83
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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 dur-
ing 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.
21
7
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.
85
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D
) tl i
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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

Metropolitan Museum 1911 Loan Exhibition Catalogue of Arms and Armor

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