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.