THE TABARD PERIOD, 1430-1500
Fig. 267.—Tabard, William Fynderne, 1444. Childrey Church, Berks.
Fig. 268.—Tabard, Sir Ralph Shelton, 1423. Great Snoring Church, Norfolk.
The sources of information for this period are considerably enlarged when compared with those preceding it, as, in addition to MSS., missals, brasses, and monumental effigies we may add paintings by the old masters, crude woodcuts following upon the introduction of printing, and, what is of still greater value, actual examples of arms and armour in our public and private museums, churches, &c. The fifteenth century probably saw a greater output of armour than any other in English history: the stirring times in France under the Duke of Bedford and other leaders at the end of the Hundred Years’ War was followed almost immediately by the thirty years of intestine strife of the Wars of the Roses. Under the stress of these conditions armour continued to improve in defensive power until, in the reign of Richard III. and the earlier part of that of Henry VII., it attained to its maximum stage of efficiency in England. In the combat during this century between the forgers of weapons of offence and the armour with which to resist them we have the greatest struggle ever witnessed in this country; so invulnerable did the plate become by completeness of covering and dexterity in tempering that all the efforts of the bowyer, fletcher, weapon-forger, and gunsmith had to be enlisted to break down the solidarity of the defence, and it was not until the succeeding century that the victory could be fairly claimed for the attacking faction. The Tabard Period witnessed every device in armour that the wit of man could evolve, and it was produced under those circumstances which would best achieve the desired result, namely the stress of urgent need. The name by which this age is known, that of the Tabard Period, has been selected by reason of the tabard being practically the only distinguishing feature which did not change, and was fairly persistent throughout. It is also used in contradistinction to the preceding Surcoatless Period. The tabard was a surcoat which was generally long in the body (to mid-thigh), and had sleeves to the elbow in the earlier portion of its existence; but in the later period the sleeves were much shortened, and the tabard at times only reached to the waist. It was split upon both sides, and the front and back portions fastened together by points, drawn closely together or left wide apart to show the armour beneath; occasionally no points whatever were used, and the front and back hung loosely from the shoulders. It served as a protection against sun and rain, and also as a means of personal adornment, being generally emblazoned upon the body and also on the sleeves with the armorial bearings of the wearer. It was of silk or other material, sometimes padded so as to hang stiffly; in most examples it depends in folds. An early brass showing this feature is that of William Fynderne, 1444, at Childrey in Berkshire ([Fig. 267]), where the armorial bearings are depicted upon the body and sleeves, both of which are long. An early tabard is that shown upon the brass of Sir Ralph Shelton, 1423, in Great Snoring Church ([Fig. 268]), which fits tightly to the figure, and the tincture of the body of the tabard has apparently been attempted by the engraver. Another early example is that of John Wantele, 1424, at Amberley Church, Sussex, where the arms are shown upon the body (which reaches almost to the knees) but not on the sleeves. Later examples are those of Sir John Say, 1473, at Broxbourne, Herts, and Piers Gerard, 1492, Winwick, Lancs. In the Roy. MS. 18, E. V., is a very spirited drawing of Julius Cæsar crossing the Rubicon, in which he is represented as wearing a tabard. A very elaborate example, c. 1500, is on the brass in Ormskirk Church, Lancashire, commemorating a former member of the Scarisbrick family ([Fig. 269]). The figure in question wears sabbatons.
Fig. 269.—Brass in the Scarisbrick Chapel of Ormskirk Church, co. Lancs., to a member of the Scarisbrick family of that name, c. 1500.
Fig. 270.—Bascinet of one of the Neville family, Brancepeth, Durham.
Fig. 271.—Bascinet and orle, Sir Humphrey Stafford, 1450.
The Helmet.—During the earlier part of the Tabard Period, until about 1450, the helmet differed but slightly from those shown in the Surcoatless, the modifications being chiefly in the form of the apex and the addition of a close-fitting visor. In the example shown ([Fig. 270]) the visor was probably rapidly adjusted to the lower studs in time of danger, or the heaume could be worn. The shape of the apex should be noted, and this feature is also somewhat similar in the helmet of John, Duke of Somerset, a.d. 1444. In those cases where the knight trusted to the bascinet only, the bavière is raised considerably to guard the face. This is well seen in the brass of Sir Humphrey Stafford, 1450 ([Fig. 271]), where the orle is a prominent feature. An example is given here of a brass of a later period exhibiting armour of an earlier date, an occurrence which at times causes confusion. Sir John de Harpedon’s brass ([Fig. 272]) is well known in Westminster Abbey, and dates from 1457; the armour is most unusually simple for that period, and could well be attributed to thirty years earlier, except in regard to the gauntlets. There are no less than eleven lames in the taces.
Fig. 272.—The brass of Sir John de Harpedon.
Fig. 273.—Chapelle-de-fer, c. 1485.
About 1450 the Salade (Germ. schallern, from schale, a shell, or Italian celata) was introduced into England, and for a considerable time formed the headpiece of knights, men-at-arms, and archers. It rested entirely upon the head, and was not affixed in any way to the body armour. Its coolness was a great recommendation, as was also the facility with which the head could be moved in all directions. There appear to be two distinct head-pieces from which the salade could owe its development; the chapelle-de-fer is one, and it probably suggested the German shape. This was in use from the thirteenth to the fifteenth centuries, and consisted of a light iron headpiece with a flat broad brim turned down. In the earlier examples the brim projects equally all round, but later it is much flatter at the front than at the back, where it was drawn out to a point (see [Fig. 273]). The Italian celata was the second model from which the salade could trace its evolution; it was the helmet of barbute form referred to on p. [173], and which was undoubtedly founded upon the Greek model. It gradually developed in the fifteenth century into the shape shown in [Fig. 274], losing its pointed apex and swelling outwards at the back of the neck. Upon their introduction into France, both German and Italian forms were classed under the name Salade. The salade in its primitive form was a head protection forged at first out of one piece of metal ([Fig. 275] and [Fig. 276]) with a comb upon the crest and an occularium, which was made available by pulling down the front of the helmet until it rested level with the eyes. This was superseded by one having a movable visor which could be raised or lowered at pleasure, and generally when lowered was locked with a spring catch ([Fig. 277]). A few examples occur in which the long projection at the back is jointed after the form of the lobster’s tail, and at times the salade measured as much as sixteen or eighteen inches from front to back. An example weighing 5 lbs. is in Case 25 at the Tower of London, dating from 1450: it is of German make and still bright, though much pitted all over ([Fig. 278]). A very interesting example is [Fig. 279], in the Wallace Collection, dating from about 1460, which was probably used by a mounted archer. As in the Tower example, it is bright but pitted: the crown is without a ridge, but becomes combed at the tail; the form of the salade enables it to be thrown well back upon the head when not in use. The small holes round the visor were probably intended for the sewing in of a lining, and the pairs of holes at the sides show where the strong lining was affixed which supported the helmet itself. Salades of this shape are shown in contemporary paintings, those of Albert Dürer for example. The mentonnière was habitually used with the salade: it was a plate fastened by one, two, or three screws or almayne (sliding) rivets to the upper part of the breastplate, and was moulded so as to cover the lower part of the face to the lips or nose and reach to the ears on both sides (see [Fig. 280]). In use the visor of the salade when lowered fell outside the mentonnière, thus effectually protecting the face of the wearer. A plate cheek-guard or bavière was worn at times, and this reinforcement is plainly seen in the salade, with crest, of the Duke Ludwig of Bavaria, 1449 ([Fig. 281]). A salade of German pattern with a very high crown is shown in [Fig. 282]; the general type of armour prevailing upon the Continent in 1450 is here presented, the laminated brassarts being a special feature. As a rule, however, a collar or standard of mail was deemed to be a sufficient protection under the mentonnière. An example of the mentonnière dating from about 1480 is No. 840 in the Wallace Collection; it has two plates, of which the upper one is held in position by a spring catch; it suggests the falling bufe of a later period. [Fig. 283] represents a salade of the end of the fifteenth century; it will be seen that a comb runs over the crown, and that a sliding neck-guard is used in place of a rigid tail. A magnificent example of Milanese workmanship is shown on [Plate VII.*], p. [60].
Fig. 274.—Italian celata.
Fig. 275.—German salade, c. 1440.
Fig. 276.—Early salade.
Fig. 277.—Salade from Rhodes, c. 1470.
Fig. 278.—Salade, 1450. (Tower of London.)
Fig. 279.—Salade, c. 1460. (Wallace Collection.)
Fig. 280.—Mentonnière, in Whissonsett Church, Norfolk.
Fig. 281.—Schallern, with Crest of Bavaria (Duke Ludwig of Bavaria, 1449).
Fig. 282.—German type of salade and armour, 1450.
Fig. 283.—German schallern, c. 1480.
Fig. 284.—Early Italian armet, c. 1450.
The Armet.—Towards the end of the Tabard Period the armet was introduced into England, and partially superseded the salade and other forms of head-protection. The origin of this helmet and the derivation of the name are equally involved in obscurity; but it probably first saw the light in Italy, and gradually spread through Germany into England. “Armet” may be derived from “elmetto” or “armetto,” little helm, or “heaumet,” the diminutive of “heaume.” The essential difference between the armet and all those head-pieces which antedated it was that, while the older styles had been put on by lowering them over the head and the weight had in nearly all cases been borne by the head, the armet opened out in its lower part upon hinges, and could thus be closed round the head and neck, while the weight was transferred to the gorget and thence to the shoulders. It was in all respects neater, lighter, and handier than either the salade or the bascinet, while providing a fine defensive form for both head and neck. The armets, like the bascinets, had in their earlier stages a camail attached by a row of vervelles ([Fig. 284]) and a reinforcing piece upon the forehead. The same pin and hinge arrangement peculiar to the bascinet is used for affixing the visor, which latter, by falling, secures the opening of the helmet in front, at the same time forming the occularium by leaving a space between its upper edge and the lower edge of the reinforcement covering the forehead. Under the hinges or pivots of the visor are the upper parts of the two chin-pieces, hinged to the crown, which overlap in front and are strapped together at the chin. At the back occurs a tailpiece from which projects a short stem to which is attached a flat disc, probably to protect the back of the helmet, which was its weakest part. An example in the Wallace Collection ([Fig. 285]), dating from 1470, has the stem remaining but not the roundel, while the holes for attaching the camail are well seen. The pivots for the visor are in the reinforcement in this case. Another armet from the same collection has the pointed visor and bavière in one plate, while the roundel is shown at the back ([Fig. 286]), and the latter example shows the camail superseded by the laminated gorget with which the armet articulated. [Fig. 287] also has the disc in position; it dates from 1480, is without any reinforcing piece upon the forehead, and the occularium is contained in the visor. No. 46 suit of armour in the Wallace Collection has an armet dating probably from 1490, with pointed visor and bavière in one piece; the neck portion is furnished with a hollow roping running round it, which fits upon and grips the upper lame of the gorget, which being perfectly circular, like the neck of the gorget, allows the head to be turned right and left. This was a feature of the close helmets of the succeeding century.
Fig. 285.—Armet, c. 1470. (Wallace Collection.)
Fig. 286.—Armet, probably Italian, c. 1480.
Fig. 287.—Armet, c. 1480. (Wallace Collection.)
Fig. 288.—Cap-á-pie suit of Gothic armour, c. 1470. (Wallace Collection.)
Fig. 289.—Breastplate, c. 1490. (Tower of London.)
Body Armour; the Breastplate.—The breastplate from approximately 1430 to 1450 remained of the same globular form which had characterised it in the Surcoatless Period, but after that date we often find it reinforced by another plate, called a demi-placcate, springing upwards from the waist, the upper part as a rule being moulded into a graceful system of cusps. In some cases, a second reinforcing plate is added over the first, but it is doubtful if these plates reached to the waist in any single case. By the system of introducing almayne rivets the breastplate could be given a certain amount of mobility, and adapt itself to the movements of the wearer. The goussets at the arm-holes were ridged or roped and sometimes turned back upon the breastplate. The backplates, also, about 1450, were made in several pieces, in order to obtain freedom of movement; the well-known cap-à-pie suit ([Fig. 316]) in the Wallace Collection has no less than five pieces in the backplate. Towards the end of the century, the breastplate was reinforced with goussets of plate adapted to the movement of the arms by judiciously-placed rivets. This is shown in [Fig. 289]; in the Tower Collection, c. 1490 or 1500, in Case 48; it shows a roped border in the upper part, holes for affixing the lance-rest, one in the centre for the screw of the gorget or mentonnière, and an articulated lame of the taces at the lower part. The section is shown with it. The suit of armour, No. 10 in the Wallace Collection, has the breastplate fitted with plate goussets; it dates from 1470. A demi-placcate of one plate is well delineated in [Fig. 291] from Roy. MS. 18, E. V., 1473, being a portion of the defence of “Goliath of Gath” in that manuscript.
Fig. 290.—Palette suspended from pauldron, c. 1470. (Wallace Collection.)
Fig. 291.—Demi-placcate, &c. (Roy. MS. 18, E. V.)
Arm Defences.—These were of great variety and, as the century progressed, of the most original and complicated description, giving to this period the most characteristic forms by which it can be identified. Soon after 1440, and perhaps before that time, the defences of the right and left arms in England began to be of different construction, similar to changes which had already become well advanced upon the Continent in the same direction. The right arm was encased in steel which, compared with other portions, was comparatively thin, light, and capable of the greatest flexibility and mobility; this was occasioned by the need of extreme quickness of sword-play in combat after the lance had been shivered in the charge. Laminated epaulières and laminated brassarts were accordingly lavishly used upon the right arm as affording the maximum amount of movement, these being strengthened by a few extra defences of plate adapted so that they would not hinder the flexibility so obtained. A brass at Swaffham, 1470, illustrates the use of lames upon the right arm ([Fig. 292]). The left or bridle arm, on the contrary, was guarded by extra strong and thick plate defences and reinforcements of all descriptions, shapes, and sizes; in fact the general idea was to render the whole of the left side of the knight impenetrable to the weapons then in use. Probably this was occasioned by the partial or total disuse of the shield in warfare, as being an encumbrance whose disadvantages more than counterbalanced any possible benefits which might have been derived from it. It can be readily seen that in combat with an ordinary right-handed swordsman the left side of the body would be liable to receive more hurts, both in number and intensity, than the right, hence this extraordinary strengthening of the defences upon that side.
Fig. 292.—Brass at Swaffham illustrating use of lames on right arm, 1470.
Fig. 293.—Development of the coudière.
Fig. 294.—Development of palette.
Fig. 295.—Pauldron of Walter, Lord Hungerford, 1459. Salisbury Cathedral.
Fig. 296.—Laminated pauldron.(Cott. MS., Julius, E. IV.)
Fig. 297.—Pauldron, &c., Sir Miles Stapleton, 1466. Ingham Church, Norfolk.
Pauldrons.—The defence known as the Pauldron was introduced in England about 1430, and may be looked upon as a development of the palette, which, becoming larger and larger, finally ended by covering the epaulières. This enlargement may be readily seen from the accompanying [Fig. 294], where the palette is seen to have reached the shoulder. The right arm defences of Walter, Lord Hungerford, 1459, from his effigy in Salisbury Cathedral ([Fig. 295]), afford us an example of the pauldron in its early stage; it is plain and of small proportions, just sufficient to fit upon the lames beneath. The peculiar shape of the coudière with its flutings should be noticed. A pauldron consisting of long lames of plate is shown in Cott. MS., Julius, E. IV. ([Fig. 296]), and also on the Staunton brass; it, however, invariably consisted of a strong and rigid plate, which is well exemplified in the brass of Sir Miles Stapleton in Ingham Church, Norfolk, 1466 ([Fig. 297]), where the defence, beautifully ornamented by curves and cusps, is not only designed as a protection to the shoulder and upper arm but also to a certain extent for the neck, which is also encircled by a standard of interlinked chain mail. In this ridging for neck defence occurred the first idea of passe-gardes or pike-guards, an innovation which in different forms was in vogue during the latter part of the fifteenth and nearly the whole of the sixteenth centuries. It is still further indicated in the brass to Thomas Colt, Armiger, 1475 ([Fig. 298]), at Roydon, Essex, where a serrated ridge is shown traversing a large part of the pauldron with the evident object of arresting a sword-cut. The pauldron is of large dimensions, and projects well over the breastplate. William Yelverton, 1481, whose brass is shown at Rougham in Norfolk, has the passe-garde well developed and rising in a high ridge on the left side of the neck; the pauldron is of fair dimensions, but strange to note does not cover the left gousset ([Fig. 299]). It is probable that the wearer bore a shield. The pauldron and its passe-garde or pike-guard is well shown upon a suit of Gothic armour in the Wallace Collection, dating from about 1490 ([Fig. 300]); here the great difference in the sizes of the two pauldrons is shown, the small one upon the right shoulder necessitating a palette in the form of a roundel being introduced to guard the gousset of the right arm.
Fig. 298.—Pauldron, Thomas Colt, 1475. Roydon, Essex.
Fig. 299.—Pauldron, William Yelverton, 1481. Rougham, Norfolk.
Fig. 300.—Pauldrons, &c., 1490. (Wallace Collection.)
Fig. 301.—Coudière, &c., Thomas Playters, 1479.
The Coudières.—Until about 1450 the coudières were of normal sizes and proportions, but when the shield was discarded and the left side of the knight was strengthened, the left coudière became of supreme importance in the warding off of a blow, and hence underwent changes which in some cases can only be termed monstrous and extravagant. Probably the brass of Sir Robert Staunton, 1458, in Castle Donington Church, Leicestershire, furnishes the maximum example of immensity in coudières, though the peculiarity of having both of the same size and pattern should not be overlooked. Another and later brass, that of Thomas Playters, 1479, in Sollerley Church, shows a coudière of a peculiar shape and of great size, reproduced in [Fig. 301]. A secondary defence was introduced about the middle of the century to protect the inside bend of the left arm, called the garde-de-bras, well seen upon the brass of Sir John Peryent the younger, 1450, at Digswell, Herts ([Fig. 302]); in the accompanying [Fig. 303] is shown an example of a left coudière from the Wallace Collection (No. 46), dating from about 1490.
Fig. 302.—The brass of Sir John Peryent the younger.
The Taces, Tuilles, and Tuillettes.—The taces introduced into armour during the Surcoatless Period reached approximately to the mid-thigh of the wearer, and during that period short lames were attached in front at times, making the skirt of plate even longer. As the Tabard Period progressed, however, the taces showed a tendency to decrease in number, thereby shortening the skirt of plate and permitting more of the thigh to be uncovered. In order to remedy this, separate plates, rounded so as to encircle the limb to a certain extent, were affixed to the lowermost tace by straps in front of each thigh, and as the taces contracted the “tuilles,” as they were termed, grew longer and broader. An excellent example is that of Henry Parice in Hildersham Church, Cambridgeshire, 1465 ([Fig. 304]), who has tuilles, genouillières, and elbow-pieces of extravagant size; the tuilles are here shown suspended by straps to the lowermost of three taces. Incidentally the skirt of the gambeson is disclosed in this figure, and apparently the edge of some defence of mail worn under the taces. A precisely similar example occurs at Roydon, Essex, upon the brass of Robert Colt, 1475. Towards the end of the century the taces had so far contracted that they reached only to the hips, as shown in the brass of Sir Anthony de Grey, 1480, in St. Albans Abbey Church ([Fig. 326]), but another mode was sometimes adopted, as seen in the brass of Sir Robert Harcourt at Stanton Harcourt, Oxfordshire ([Fig. 305]), where the tuille was not attached to the lowest tace but to a higher one, the intermediate space being filled up with short lames and mail. Other smaller plates were at times added to protect the outer part of the thighs, called “tuillettes.” If the front tuilles are themselves composed of several plates, or jointed, then the term “tuillette” is also applied to them.
Fig. 303.—Garde-de-bras, c. 1490. (Wallace Collection.)
Fig. 304.—Tuilles, &c., Henry Parice, 1465. Hildersham Church, Cambs.
Fig. 305.—Sir Robert Harcourt, c. 1472. Stanton Harcourt, Oxon.
Leg Defences.—These did not undergo such decided transformations as the remaining portions of the armour, but a few innovations deserve attention. Until 1450 there was no decided change from the style prevailing in the Surcoatless Period, with perhaps the exception that the reinforcing plate of the genouillière protecting the grevière had a tendency to lengthen, but was still cut off square. After the above date we find that it is generally pointed in the lower part and laminated, while reinforcing plates begin to appear above the genouillière protecting the thigh and often overlapping each other. An unusual reinforcement for the genouillière is shown in [Fig. 306]; it is of chain mail and occurs upon a suit in the Wallace Collection dated 1470. The actual cap covering the knee did not undergo much change, except that it was often prominent and ridged, but one innovation, and a marked one, is exhibited upon a few brasses (in the Grey brass, St. Albans, for example), where the usual outer guard is prolonged round the back of the knee in order to protect the gousset generally shown there. A peculiar variety of genouillière is delineated in [Fig. 307], where a spike is seen projecting from the guard, and a considerable number of lames and reinforcements are shown. It is difficult to see the possible use of this spike, and one can only suppose that it was so placed to annoy the horse of an antagonist when at close quarters. It is from Roy. MS. 18, E. IV. The sollerets remain pointed, and were often of extravagant length, but with less lames as a rule than in the early part of the century; towards the end, about 1490, they disappeared and became extinct, the broad-toed “sabbatons” taking their place. Those of Piers Gerard, 1492, Winwick, Lancashire, are early examples of this fashion ([Fig. 308]).
Fig. 306.—Reinforcement to genouillière, c. 1470 (Wallace Collection.)
Fig. 307.—Spiked genouillière. (Roy. MS. 18, E. IV.)
Fig. 308.—Sabbaton of Piers Gerard, 1492. Winwick, Lancs.
PLATE XX*
Armour of King Sebastian (Backplate)
A. F. Calvert
Fig. 309.—Lance-rest, 1480. (Wallace Collection.)
Until about the year 1460 the sword was worn at the left side suspended by a narrow band passing over the right hip, as in the Surcoatless Period, but after the above date it appears upon brasses and monumental effigies in front of the body, with the point slightly inclined to the left as a rule, but sometimes hanging perpendicularly. It has a singularly short and ill-proportioned hilt, with a much-swollen grip and a pommel pear-shaped or circular, while the quillons are straight, with a slight droop at the ends towards the blade. The lance-rest was added in the latter half of the century, and is shown projecting from the breastplate in many brasses. Upon some existing suits of the period and later the rest is capable of being folded up when not in use, and kept in place in both positions by a spring. The lance-rest shown in [Fig. 309] dates from 1480, and has a strut or support beneath it to aid in bearing the weight of the lance.
Fig. 310.—German tilting armour, 1480, from the Collection in the Museum at Vienna.
Tilting Armour.—From the very earliest times since man bore arms he has engaged in friendly contest with others, not only as a means of recreation and engendering mutual respect, but it was readily recognised that the only way to obtain skill in deadly combat was to constantly practise the art of war in the time of peace. It was also natural and proper that these friendly combats should be governed by rules and regulations whereby the minimum of risk should be run, and so avoid the possibility of turning a manly pastime from a source of enjoyment into a combat of deadly earnestness. Although history records that the latter result really occurred at times, it was the exception that proved the rule, and tilting was part and parcel of a knight’s everyday life, and the glories of the tournament the hoped-for goal. During the early part of the Middle Ages single encounters, and also the mêlée, were fought in the usual harness which the knight was in the habit of wearing in battle, and no other precautions were taken excepting the use of blunted spears and restricting the use of the sword to the edge only. As time advanced, however, and armour became heavier and more cumbersome, the being hurled out of the saddle by a dexterous thrust of an opponent’s lance was a matter of moment, seriously endangering life and limb, whereas it had formerly been deemed comparatively trivial when the defences were of mail or textile fabrics. Hence as time progressed it became necessary to have special armour for the tilt, or to add such extra defences to the fighting armour that the increased weight promised security in the saddle, and the multiplicity of plates between himself and the weapons of his opponent practically guaranteed immunity from harm. This idea, once established, eventually led to the result that a knight armed for the joust could not mount to the saddle, but had prominent portions of this armour fitted when mounted. He became an apparently impregnable tower of steel, immovably fixed in a huge saddle. The student of armour must carefully discriminate between these tilting suits and actual war harness; the former were never used upon the field of battle, although at times we know that certain of the tilt defences were borrowed in order to reinforce the usual harness. The fifteenth century witnessed the inception and almost the culmination of the idea, and a few of the tilting suits of the latter part of that era are still extant. [Fig. 310] represents the upper portion of a suit of tilting armour from the collection in the Museum in Vienna; it dates from 1480, and is eminently typical of the period. The half-suit, No. 21 ([Fig. 418]) in the Wallace Collection, is very similar to the suit illustrated. The great tilting heaume is composed of three plates of varying thickness, ranging from nearly half an inch in the principal portions of the front to an eighth of an inch in the back. A comb, convex in section, runs down the centre of the crown, and radiating flutings are seen to ornament the back. The neck of the heaume is firmly fixed to the backplate, and three screws serve the same purpose in front for the breastplate. The occularium, formed by the aperture between the crown plate and the front, appears somewhat large when seen in this position, but remembering that the lance is held considerably lower than the heaume it is possible that an opening half an inch or even less would be presented to it. It was quite possible to have comparative freedom of movement for the head inside the heaume, which was invariably furnished with a quilted lining.
PLATE XXI*
War Armour, early Seventeenth Century, Milanese make
Armour of Prince Philip II., German make, 1549
A. F. Calvert
Fig. 311.—Queue. (Wallace Collection.)
Fig. 312.—Queue, vamplate, and lance. (Tower of London.)
Fig. 313.—Polder mitten. (Tower of London.)
Fig. 314.—Garde-de-bras. (Wallace Collection.)
The specimen in the Wallace Collection weighs twenty pounds. The breastplate is globular in form, and flattened upon the right side to allow of the queue ([Fig. 311]) being affixed; this singular addition consists of a bar of steel rectangular in section and screwed firmly into the breastplate, bearing at the rear extremity a turned down hook which resisted the upward pressure of the butt of the lance. The front portion of the queue has another hook turned upwards, in which the lance rested, and behind which it was gripped by the hand. This hook was omitted when the lance-rest was separate and affixed to the right side of the breastplate, as seen in the figure, where it appears to be forged in one piece and secured by two screws. An excellent example demonstrating in a practical manner the use of the queue is exhibited in the Tower Collection, where the lance is seen in position, and a large vamplate of curious design is affixed for the protection of the hand and arm (see [Fig. 312]). In order to admit of the free passage of the lance the large palette protecting the right armpit is slightly hollowed at its lowest part; the Wallace suit has a companion palette protecting the left arm. Upon the shoulders are pauldrons of two plates, decorated with radiating fluting, and upon these in the Wallace suit are two upright iron pins or projections to which were attached the flowing ends of the lambrequin, contoise, or mantling, depending from the crest. In the example from Vienna eyelets occur upon the pauldrons for the same purpose. The brassarts are laminated and overlap each other downwards. Upon the right arm appears the Polder mitten (a corruption of épaule de mouton, so named from its shape), an additional reinforcing piece which is screwed to the vambrace and protects a large portion of the arm. It has fine flutings radiating from the bend. No gauntlet is seen, the vamplate generally affording a sufficient protection for the hand. A similar reinforcement for the right arm is upon the Wallace suit, which differs only in a few details, whilst a very fine example of this reinforcement, but dating from a later period, is preserved in the Tower (No. 371, Case 25) ([Fig. 313]), which exhibits excellent workmanship. The elbow-joint of the left arm is protected by a garde-de-bras similar in form to that upon the right arm; this is riveted to a manifere (or main-de-fer) of one plate protecting the bridle hand, and decorated with flutings radiating from the wrist. The protection for the left arm in the Wallace suit is represented in [Fig. 314]; it is a large and finely fluted piece secured to the vamplate by three screws. A small oak shield covered with leather and painted is secured by a guige passing through two holes in the left upper part of the breastplate; it is not connected in any way with the arm, but simply hangs in position. This is the Stechtarsche. In [Fig. 310], no armour is shown below the waist, but the Wallace suit is furnished with taces of four plates, to the lowest of which are fixed the tuilles; while the breastplate is reinforced by a placcate. Judging from the deep grooves and indentations upon the heaume and palettes this suit has been donned at times in the combat à outrance, when the war spear was employed, as the lance-head or coronal customarily used in the Joustes of Peace would not effect such damage. The Joustes in question were conducted upon the original methods, namely, in the open lists or field and without any obstruction between the combatants; the system of running with a barrier between the horses was termed the Italian course, and was not used generally in Europe until the sixteenth century. This Italian course is known as Über die Pallia (over the barriers), or Welsches Gestech, in contradistinction to the open course or Das Deutsche Stechen. The Wallace suit, including the heaume, weighs 96 lbs., and bears the Augsburg guild mark. A few extra tilting pieces which came into vogue upon the Continent in this period will be dealt with in a subsequent chapter.
A fine suit of Gothic armour to which reference has been previously made is in the Wallace Collection ([Fig. 288]) which dates from 1470. The salade is of fine covering form and is fitted with a lifting visor; the mentonnière has one plate which falls if required. The breastplate is reinforced with a large placcate and has laminated goussets protected by fluted roundels. The taces are of three plates, to which the tuillettes (so called because they consist of more than one plate) are suspended. Espalier pauldrons of very fine workmanship protect the shoulders and upper arms; the coudières are peculiar to the period, while mitten gauntlets with long cuffs and demi-vambraces are also used. Demi-cuissarts of three plates have the genouillières fixed to them, while the jambarts are complete. The sollerets and a few other parts of the suit are restorations. The chain-mail reinforcements to the jambarts are of rare occurrence.
Fig. 315.—Gothic armour from the Tower of London
A suit of armour in the Tower of London deserves special mention by reason of its being the oldest cap-à-pie suit of plate in the collection. It is shown in [Fig. 315], and probably dates from the middle of the fifteenth century, having practically no decorations of any importance. It is furnished with a visorless salade having a long tailpiece, and a gorget with a roped border which is probably of a later date. The epaulières consist of five laminated plates; the coudières are small, while demi-brassarts and complete vambraces cover the upper and lower arms respectively. The gauntlets are of overlapping plates with large cuffs. The breastplate has two demi-placcates reinforcing it, and the backplate is of three pieces. The taces are three in number, to which tuilles of one plate are affixed. Demi-cuissarts, plain small genouillières with fan-shaped guards, and grevières of complete plate (probably recent) protect the lower limbs. There are no sollerets. The figure is equipped with a pole-axe of an original pattern, the shaft being partially sheathed in iron. Another suit, No. 26, probably dates from the last years of the fifteenth century, as it is furnished with a chain-mail skirt. The breastplate has a demi-placcate strengthening it; the gauntlets are very elaborate with fine gadlyngs and cuffs (probably the cuffs only are original); the cuissarts have four lames upon the upper parts, while the sollerets are of beautiful construction but recent workmanship. The backplate is of two plates, and a garde-de-rein is affixed below. The suit has been much restored.
PLATE XXII*
Half-suit, Pamplona Armour, Philip III.
A. F. Calvert
The finest example of complete war harness for man and horse to be seen in London, and probably in England, of the very early period of 1460 is that which occupies such a prominent position in the Wallace Collection ([Fig. 316]). It was formerly in the famous collection of the Count de Nieuwerkerke, who purchased it from M. E. Juste, of Paris, for £1200, but probably if it came under the hammer now it would bring in four to six times that sum. As one might expect, it has had to be made up in a few parts to its present complete condition, but nothing whatever has been done to the armour for the lower limbs, which is original and well preserved. This is the more to be wondered at inasmuch as those are the parts more liable to suffer injury and need replacement than any others. The salade is of fine form and furnished with a visor, the occularium being formed between the upper part of the visor and the lower edge of the crown-piece. The mentonnière is attached by a screw to the breastplate, and is in two parts, the upper one falling if required, similar to the buffe of a later period, while a demi-placcate is affixed by an almayne rivet to reinforce the breastplate. The backplate is in five plates, all riveted in such a manner as to afford the maximum of movement for the back. A garde-de-rein of four plates is affixed below. The left coudière is of a graceful form and large proportions; the right differs in pattern, and has a garde-de-bras riveted to the vambrace protecting the inner bend of the arm. The cuissarts, composed of a number of plates, are of a most ingenious design, whereby tuilles are rendered superfluous. But perhaps the chief point of interest is centred in the sollerets, which have extreme lengths of pointed toe-caps; to these are attached the spurs, the necks of which are ten inches in length. At a period when it was necessary to cut the straps of sollerets when fighting on foot, and so remove the projecting point as to enable the knight to walk, it is curious to find in this suit that no provision is made for such a contingency, and that the long, pointed toe is riveted on. The genouillières are of latten, and below them deep pointed plates extend, to which are affixed the grevières, which fasten by spring catches on the inside. The whole of the armour is of a most graceful form, and the eye, accustomed to mediæval representations of contemporary equipment, dwells with delight upon this beautiful example of art from the Middle Ages. The use of latten as a means of adornment for the edges of various plates gives a rich contrast to the dull grey of the steel. Another fine suit of cap-à-pie armour dating from the fifteenth century, in the Wallace Collection, is No. 46, which may be of German origin, and dates from about 1490. The head is protected by an armet of very fine proportions, opening down the centre of the chin-piece, and having a bavière and visor in a single plate. The breastplate is very globose, and is an example of the mediæval fashion of engraving mottoes, texts, invocations to the saints, &c., upon armour, as it bears a prominent inscription. It is furnished with sabbatons, and partakes in many characteristics of the nature of armour of the succeeding century.
Fig. 316.—Equestrian figure. (Wallace Collection.)
Fig. 317.—Thomas de St. Quintin, 1445. Harpham Church, Yorks.
The second half of the fifteenth century saw armour not only in its highest development, but also of the most beautiful form, for nothing can exceed the graceful lines and excellence of workmanship characterising the Gothic style, as it is usually called. It was made to fit the human form and to adapt itself to the movements of the wearer. One of the most valuable relics we possess, illustrating its features, is the absolutely unique effigy of Richard Beauchamp, Earl of Warwick, in the Beauchamp Chapel, St. Mary’s Church, Warwick, temp. 1454 (the earl died in 1439). It is of latten, gilded, and in perfect preservation: every feature, turn, and curve of the original copy is faithfully reproduced not only upon the front part or upper surface, but also upon the back; it was turned over some time since in order to be copied, and was found to be as carefully and accurately finished there as in the parts usually visible. Every detail is represented except the mentonnière, which is usually absent in effigies, though the catch for its attachment is shown. The points calling for special notice are the passe-guards or pike-guards upon the pauldrons which constitute a very early example of this adjunct, and also the presence of two large tuilles and two smaller tuillettes. The coudières are large and of the beautiful butterfly pattern, covering the inner bend of the arm; they are both equal in size and of the same pattern. Although the work was executed by an Englishman, William Austin, the armour is undoubtedly of Milanese manufacture, and may be ascribed to the Missaglias. An early example, foreshadowing the changes which occurred in defensive armour in the second half of the fifteenth century, is that of Thomas de St. Quintin, 1445, in Harpham Church, Yorkshire ([Fig. 317]). The figure is represented in pointed bascinet and mentonnière, beneath which the laminated epaulières are partly visible. These are almost covered by two palettes of singularly large size, that upon the left being the greater; the reinforcement to the breastplate appears below. Upon the right coudière is an additional plate termed the garde-de-bras, and another of larger proportions and different form covers the left. The breastplate is of the short form, and necessitates the addition of six taces, to which are appended the tuilles. The figure shows the sword and misericorde being worn as in the Surcoatless Period. The effigy of Sir Richard Vernon, 1452, at Tong Church, Shropshire, is an excellent example of mediæval Gothic armour, and as portrayed in “Shaw’s Dresses and Decorations” is simply magnificent. Our [frontispiece] is adapted from the illustration. The orle surrounding the bascinet is gorgeous with chased work and pearls; the head rests upon a ponderous heaume, shaped for the shoulders, and bearing crest and mantling. The mentonnière is here in place: the breastplate is reinforced by a demi-placcate, and there are eight lames of taces with short tuilles. The genouillières have only a lower reinforcement, and the sollerets are comparatively short. A very late example of the hip-belt is shown, from which the misericorde is suspended, the sword-belt being quite distinct. The pauldrons are dissimilar, the right being the smaller and hollowed for the lance; while the upper parts of both are fluted. The coudières are distinctly beautiful, with radiating flutings upon the butterfly shape, which is folded inwards over the goussets.
Fig. 318.—Walter Green, 1450. Hayes, Middlesex.
Fig. 319.—John Gaynesford, 1460. Crowhurst Church, Surrey.
Of the same date as the Beauchamp effigy is the well-known brass of John Daundelyon at Margate, 1455, whose breastplate is of the short character, as shown in the effigy; the bascinet is very pointed at the apex, and the mentonnière appears of singularly graceful form. The palettes are large and dissimilar, the left covering a considerable portion of the breastplate; upon the left arm is a circular garde-de-bras attached to the coudière, while an extremely large coudière is shown upon the left arm which may be regarded as a second garde-de-bras: the gauntlets are characterised by long pointed cuffs. Walter Green, 1450, whose brass occurs at Hayes, Middlesex, is represented without any bascinet, but with the head resting on a visored tilting helm ([Fig. 318]). The epaulières consist of a number of lames which extend upwards to the neck, where they are confined by a band, and over these are two symmetrical pauldrons of plain pattern. His armour bears a remarkable resemblance to that of John Gaynesford, 1460, in Crowhurst Church, Surrey, even to the plain gauntlets of four plates covering the hands. In both examples the taces are numerous and worked into broad escallops, tuilles being omitted ([Fig. 319]). An early example of the garde-de-bras is that represented upon the memorial effigy of Sir John Verney, Albury, 1452, where a small garde is attached to the coudière of the right arm and an enlarged one of peculiar shape to the left ([Fig. 320]). Upon the same effigy also occurs a complicated genouillière, which, fitting closely to the knee, is provided with two reinforcements above and below, the extreme plates being worked into highly ornamental forms ([Fig. 321]). A coudière of large size and graceful form is shown upon the brass of Henry Parice, 1464, at Hildersham, Cambridge, where arming points are seen attaching it to the brassart and vambrace: it is serrated in the upper extension, and the same decoration is repeated upon the pike-guard of the pauldron. In this figure the lance-rest is shown affixed to the breastplate ([Fig. 322]). Upon the same brass there is an example of extravagant tuilles attached to the lowest of three taces by straps, while the rare occurrence of the skirt of the haqueton with the edge of a defence of mail (possibly a hauberk) is shown, another instance being that at Roydon, Essex, upon the brass of Robert Colt, 1475. Sir Robert Staunton’s brass, 1458, in Castle Donington Church, Leicestershire ([Fig. 323]), affords us the best example of extravagant coudières, and is also remarkable for showing the salade, which is of extreme rarity upon brasses and effigies. The latter is represented very wide in form, with a falling visor having the occularium in it, and guided by a prolongation which apparently runs backwards and forwards upon a hidden comb. The gorget is of plate, over which the laminated epaulières are shown, apparently meeting over the chest: other details of the arms are hidden by the enormous coudières, which, strange to say, are of similar size and form. They are cusped and fluted in the upper parts. Upon viewing these arm defences the reason may readily be perceived why the knights deemed the shield superfluous. A demi-placcate is added to the breastplate. The armour shown upon the brass of Sir Robert del Bothe, 1460, in Wilmslow Church, Cheshire ([Fig. 324]), is characterised by excessive singularity of contour, suggesting an origin in one of the northern continental countries. No headpiece is shown, but the knight probably wore the salade: a mentonnière of several plates covers the upper part of the breastplate, which apparently is not reinforced. The massive pauldrons are almost similar in outline, and each is provided with a projecting ridge upon the shoulder in addition to a low pike-guard. The chain mail gousset is very apparent where the pauldron has been cut away to permit of the lance being held. The coudières are strange, almost grotesque, in form. The right arm in wielding the sword, mace, and lance, would be almost always in an extended position, hence the small latitude allowed in the coudière for bending it: the left, or bridle arm, would necessarily be bent more. The awkward position of the arms may be explained by stating that on the brass the knight is holding the right hand of his lady with his own. The long form of breastplate necessitates only three taces, which are escalloped, and two large tuilles, vieing in size with those of Henry Parice, are appended. The genouillières are remarkable for the excessive development of the guard-plate protecting the gousset at the back of the knees; this guard is seen upon many effigies but few brasses, and where it occurs in the latter might easily be overlooked—see the brass of Sir Anthony de Grey for example. Upon the brass of Sir Thomas Grene in Grene’s Norton Church, Northamptonshire ([Fig. 325]), the knee-guards are, if anything, larger than those upon the Bothe brass, while Henry Green, in Luffwick Church, Northamptonshire, 1467, who wears a tabard, has similar guards. Sir Robert del Bothe is among the first, or is the first, to exemplify the wearing of the sword in front of the body sloping from right to left: this fashion was introduced about 1460, and is one of the clues used in identifying the chronology of a brass.
Fig. 320.—Right and left coudière, Sir John Verney, Albury, c. 1452.
Fig. 321.—Genouillière, &c., Sir John Verney, Albury Church, c. 1452.
Fig. 322.—Coudière, &c., Henry Parice, 1464. Hildersham, Cambs.
In the brass at Grene’s Norton, mentioned above, however, a curious modification occurs; the misericorde, which is of huge dimensions and like an anelace in some respects, is slung perpendicularly in front, and the sword suspended on the left side. The brass of Sir John Say, 1473, at Broxbourne, Herts, is habited in a tabard blazoned with his armorial bearings, and exhibits the hausse-col or standard of mail then commonly worn round the throat when the tilting helm alone was used as a protection for head and neck. The memorial brass to Sir Anthony de Grey, 1480, in St. Albans Abbey Church, Herts, exemplifies the armour known as the Richard III. style in every particular ([Fig. 326]). Round the neck is a hausse-col or standard; the head rests upon a tilting helm, the occularium and projection beneath it being visible over the right shoulder, while the staple for affixing it to the breastplate appears with the mantling over the left. The pauldrons are large, and apparently reinforced by a secondary plate beneath; they are symmetrical in shape and have no pike-guards. The coudières are large and of peculiar shape while long cuffs are appended to the shell-gauntlets. This form of pauldron was fairly prevalent at the time, and also during the early part of the next century. Two demi-placcates appear upon the breastplate: the taces are only three in number, and short tuilles appear in front with tuillettes covering the hips: the genouillières appear with reinforcements extending well up the thigh and a guard-plate passes behind the goussets. The sword is slung in the prevailing mode, but the misericorde is in an almost horizontal position at the back. Similar armour in its broad outlines is used upon the figures in the Warwick Roll of John Rouse, written and illustrated in the reign of Richard III., of which we give examples. Richard Neville, Earl of Salisbury, is represented in a salade with an unusual knob upon the summit ([Fig. 327]); the short taces and dependent tuilles are here exemplified, as are also the shell gauntlets. The shield with its bouche at the corner is concave to the front, and the sword is shown with a disproportionately short grip and much swollen, similar to that in the De Grey brass. The figure of King Richard III. ([Fig. 328]) habited in a tabard also occurs in the Roll; the coudières are peculiarly spiked, but otherwise the armour has the usual Yorkist characteristics.
Fig. 323.—Sir Robert Staunton, 1458. Castle Donington Church, Leicestershire.
Fig. 324.—Sir Robert del Bothe, 1460. Wilmslow Church, Cheshire.
Fig. 325.—Sir Thomas Grene, 1462. Grene’s Norton Church, Northants.
Fig. 326.—The brass of Sir Anthony de Grey, 1480, in St. Albans Abbey Church, Herts.
Fig. 327.—Richard Neville, Earl of Salisbury, from Warwick Roll.
Fig. 328.—Richard III., from Warwick Roll.
Among the most interesting pieces of armour in the British Isles we must include the Rhodes armour preserved in the Rotunda at Woolwich. The Knights of St. John of Jerusalem occupied Rhodes after their expulsion from the Holy Land, and subsequently migrated to Malta. In the early part of Queen Victoria’s reign General Sir J. H. Lefroy was sent by the British Government to Turkey, and while there secured the Dardanelles cannon described elsewhere, and also the Rhodes armour, left behind by the Knights. This is one of the most valuable of late “finds,” and the whole of it is in the Rotunda. Much is in bad condition and would not bear cleaning, but one suit has been made up and is illustrated in [Plate IX.], p. [72]. The salade is of a very deep form with a large visor; there is a lobster-tail neck-guard of two lames. The mentonnière is more of the nature of a gorget, and is not affixed to the breastplate. The pauldrons are laminated and continuous with the brassarts, which have turners, while the coudières are of the sixteenth century. The vambraces are late fifteenth century, as are also the gauntlets. The breastplate is globose and furnished with a placcate, while the backplate has been provided with a garde-de-rein from the Tower. The cuissarts and genouillières are late fifteenth century, but the jambarts are of a still later date. In order to complete the figure a chain-mail hauberk has been lent from the Tower, and the tuilles and sollerets have been made. The two-handed sword is a fine example, dating from c. 1510. The whole suit may be looked upon as an example of the style prevailing c. 1490.
Fig. 329.—Bowman, 1473.
Fig. 330.—Arbalestier, temp. Edward IV. (Harl. MS., 4379.)
Fig. 331.—Arbalestier, early fifteenth century.
Fig. 332.—Chapelle-de-fer, c. 1490. (Tower of London.)
Fig. 333.—Chapelle-de-fer, temp. Edward IV. (Roy. MS. 14, E. IV.)
The period under discussion, from 1430 to 1500, saw the common foot soldier, whether bowman, arbalestier, billman, petardier, or cannonier, much better equipped, and in every way more carefully provided for, than in any preceding age. It had early been perceived in England that the native infantry was as effective in battle as the flower of foreign chivalry, and instead of being jealous of this fact, as were the foreign nobles as a rule of their own foot soldiers, the knights of our own country sought by every possible means to add to the deadly prowess of the soldier, and to defend him by every artifice that wit could devise. It came to be recognised as an article of military knowledge that a charge of cavalry against English archers armed with the long-bow resulted, under ordinary conditions, in disaster, and that no good result was to be obtained by it, but on the contrary it was simply to court destruction. The lessons of Creçy and of Poictiers had been well learnt, and it was remembered that the French chivalry, although encased in steel and the horses defended by bardings, simply melted away before the deadly sleet of arrows emanating from the English position, and in spite of their most strenuous efforts only managed to reach the archers in such a disorganised form that an effective charge was out of the question. So long as the bowmen stood firmly in their position and preserved order and discipline they had nothing to fear from the most determined charge of cavalry. The secret of this undoubtedly was that although the knight himself was impervious to the arrow so long as it did not strike a gousset or the junction or joint between two plates, his horse was by no means equally well protected, and it is well known that the arrow was in most cases directed towards the unfortunate steed in preference to the invulnerable rider. It thus became a custom for the knights and heavily-accoutred men-at-arms to dismount and advance on foot to the charge, in imitation doubtless of the example set by the Black Prince at Poictiers. But the slow progress of such a mass of heavily-armed men against a body of archers gave the latter plenty of time to select their opponents, and with unerring aim to challenge the weak points of their adversaries’ defences with the deadly cloth-yard shaft. The invariable result was that the archer came off victorious, and the discomfited mail-clad knight thus found himself unable to reach the enemy with whom he desired to close either on horseback or on foot. In this dilemma the invention of the pavise came to his help, and for a time the archer was to a certain extent nonplussed. This was at first an upright wicker-work defence, square in form and plane of surface, sufficiently large to cover the knight and also the page or squire who bore it. The knight also carried his own shield as an additional defence, and thus effectually protected from arrows could advance to close quarters, or if necessary, take post behind his own archers in order to repel a charge of cavalry. The pavise, once introduced, was quickly improved upon, and soon developed into a convex shield of wood faced with leather or other protective material, and resting upon the ground. Some of these were elaborately decorated, being painted with designs of more or less merit, some of which have been preserved to the present age and form remarkable instances of mediæval art. In the Wallace Collection is a pavise of parchment upon a foundation of wood, with a semi-circular ridge down the centre, upon which occurs a representation of a castle and background. It is of German origin, and dates from about 1490; another in the same museum of about the year 1500 has a similar ridge down the centre, is of the same materials, and is painted black. The arms of Nuremberg in colours are upon the left-hand top corner. The examples are only sufficiently large to cover one man, and might therefore have been used by archers, arbalestiers, cannoniers, &c., for these were alert to seize upon the new defence, and quickly adopted it. During the siege of a town or fortress the pavise was in constant use, and in MSS. of the fifteenth and sixteenth centuries it is common to note in the illuminations how they are employed to cover every type of combatant. In Cotton MS., Julius, E. IV., many examples are delineated, bodies of pavisiers being shown in combat with each other. [Fig. 329] is a representation of a mediæval long bowman of the year 1473, in which he is shown with a hat and gorget of banded mail and a hauberk of overlapping scales of leather covered by a brigandine of leather. The only plate defence is a corselet. The quiver is slung at the back and a sword in front. The arbalestier shown in [Plate XL.], p. [366], is habited in a very graceful salade, a brigandine of the fifteenth century partly covered by demi-breast and backplates, or placcates, and wears a knee-piece upon the left leg. The arbalestier of the time of Edward IV. is represented in the Harleian MS. No. 4379 ([Fig. 330]) as possessing a complete defensive equipment, consisting of bascinet, camail, brigandine of jazeraint work, tuilles of leather plates, and complete plate for the legs. In addition he has a corselet of plate. The peculiarly-shaped quiver for the bolts is characteristic of the period. That arbalestiers were as an established rule better provided with defences we have already seen: a further confirmation is afforded by the accompanying [Fig. 331] of an arbalestier of the earlier part of the fifteenth century, before the dagged houppelande of Richard II. and Henry IV.’s reign had gone out of fashion: he is represented as being clothed in it, whereby the defences of the body and arms are hidden, but the legs are in plate, with sollerets for the feet, and a chapelle-de-fer, or plain skull-cap, covers the head. It is taken from Sloane MS. 2433.
Fig. 334.—Archers’ salades, temp. Edward IV. (Roy. MS. 14, E. IV.)
Fig. 335.—Salades, temp. Henry VI.
The chapelle-de-fer was a common headpiece for the soldier of the fifteenth century; an example dating from c. 1490 is preserved in the Tower ([Fig. 332]) which shows a point in front, and numerous holes round the brim for a padded lining. Another representation is from Roy. MS. 14, E. IV. ([Fig. 333]), which is simply a pot-de-fer with the addition of a turned-down brim. The soldier also wears a coif-de-mailles. It must not be supposed that salades were entirely confined to the knightly orders; they are seen upon horse and foot soldiers of all grades; three are delineated here which are very common, and are represented freely in MSS. ([Fig. 334]), while others of different forms appear in this chapter ([Fig. 335]). In MS. No. 6984 of the Bibliothèque Nationale, Paris, a work of the late fifteenth century, a reputed knight is shown opening a door. He is copied in [Fig. 336], and is undoubtedly a leader of arquebusiers, pikemen, or arbalestiers, and not of the knightly order. The extra protection of a roundel at the side of the salade was very common upon the Continent, while leather is used for taces as in [Fig. 330]. The limbs are in plate, and a corselet is shown. The tabs at the neck, shoulders, and knees are of frequent occurrence in illuminations.
Fig. 336.—(No. 6984 Bibliothèque Nationale, Paris.) Late fifteenth century leather and plate defences.
Fig. 337.—Petardier and swordsman, fifteenth century. (Roy. MS. 18, E. V.)
Fig. 338.—Hand-gun man, c. 1473. (Roy. MS. 18, E. 5.)
The petardier of the fifteenth century, who hurled small bombs, or else pots filled with Greek fire, into the ranks of the enemy, was also clothed in plate, sometimes from head to heel. He was considered of great importance, and consequently rendered as impervious as possible to the weapons with which he might be assailed. The thrower of the fire-pot represented in [Fig. 337] (from Roy. MS. 18, E. V.) is protected thus, even to roundels covering the goussets, unless these are mammelières, which are of very frequent appearance. Opposing him is a foot soldier wielding a bastard sword and protecting himself with a small buckler; he wears a visored salade with camail and a gorget, a close-fitting brigandine over a hauberk of mail, and his arms are protected by plate. As is the case in the majority of representations of soldiers of this period, the legs are entirely undefended. From the same MS., which dates from 1473, we reproduce an interesting figure (No. 338) of a hand-gun man discharging one of the crude pieces of that period, whose picturesque appearance it would be difficult to excel. The salade is especially enriched with an enlargement of the customary roundels, while two demi-placcates reinforce his breastplate, which is probably of leather. Only genouillières appear upon his legs, a system of defence which was much in vogue at that time. A hand-gun man of 1470 is depicted in [Fig. 339]. Among the mercenaries introduced into England during the Wars of the Roses were “Burgundenses” or Burgundian hand-gun men. Warwick had a body of these at the second battle of St. Albans in 1461, and in [Fig. 340] we have in all probability a representation of their accoutrement. Upon the body the defences are a padded jacque, similar in nature of material to the gambeson, combined with chain mail and pourpointerie. The visor upon the salade is apparently fixed, while the legs are encased in mail chausses covered with demi-cuissarts and jambarts. The cannonier of the period was usually without any defensive equipment whatever. A small illustration is appended from the Sloane MS. No. 2433 of the fifteenth century, from which it will be perceived that he is dressed in ordinary civilian garments ([Fig. 341]). It was probably deemed unnecessary to clothe him in armour by reason of the distance which separated him from the contest.
Fig. 339.-Hand-gun man, 1470.
Fig. 340.—Hand-gun man, c. 1470.
Javelin men are represented in many MSS. of this period, but invariably in those of a foreign origin. The soldier delineated in [Fig. 342] is taken from Harl. MS. 4374, and is remarkable for the cap-à-pie defences he wears. The size and shape of the shield is also worthy of notice.
Fig. 341.—Cannonier, fifteenth century. (Sloane MS. 2433.)
Fig. 342.—Javelin man, 1480. (Harl. MS. 4374.)
Two brigandines as used in the fourteenth and fifteenth centuries are preserved in the Tower of London; details of their structure are given in Figs. [343] and [344], both being drawn the exact size of the originals. In [Fig. 343], A is a square sheet of thin iron, rounded at the corners and with a hole in the centre. In B it is placed between two coverings of canvas and fastened by strings, three of which pass through the centre; the loose ends are continued to pass over and through four more plates which surround B and practically touch it on all sides. This is a common and inexpensive form of jazeraint.
Fig. 343.—Details of brigandines, fourteenth and fifteenth centuries. (Tower of London.)
Fig. 344.—Details of studded Brigandine, fourteenth and fifteenth centuries. (Tower of London.)
[Fig. 344] is more complicated. A represents a small plate of iron, thinner than that used in the preceding example. The heads of six studs, which are screwed or otherwise fastened into the plate, are shown side by side. In B the plate is shown edgewise and one of the studs also. C represents this plate and four others placed between two layers of canvas, cloth, or other material with the stud heads perforating one of the layers and the plates overlapping like slates upon a roof. D represents the appearance of the face of the brigandine when finished. It will readily be perceived that such a garment would be very pliable, and yet offer considerable resistance to an arrow, or bolt, or a sword-cut.