It is so very rare to be able to fix the date of a suit of armour at a particular year that we are forced, in dividing our periods of defensive armour with any degree of minuteness, to have recourse to the records existing in monumental effigies. The earliest brasses which show the whole suit of plate without camail or jupon are those of one of the d’Eresby family at Spilsby, Lincolnshire, and of Sir John Wylcotes at Great Tew, Oxon., both dated 1410. In these brasses we find that the camail has become the Standard of Mail, or collarette, worn under the gorget of plate. The hauberk is seen beneath the taces and, in the former brass, in the ‘défaut de la cuirasse’, or unprotected part at the junction of arm and body. In the Great Tew brass this part is protected by oval plates which, as we have noticed in a preceding chapter, are called motons or besagues. Hewitt does not seem to have come across these terms in the course of his very minute investigations, but calls them Croissants or Gouchets. He quotes a passage from Mathieu de Coucy’s History of Charles VII (p. 560) which runs:—‘au-dessous du bras at au vif de son harnois, par faute et manque d’y avoir un croissant ou gouchet.’ Haines, in his Monumental Brasses, mentions the moton, but assigns this name to a piece of plate rarely met with, shaped to fit under the right armpit only. With the disappearance of the jupon we see the body defence exposed to view. The breastplate is globular in form, and below the waist we see the taces or laminated strips of plate overlapping each other, which at this early period were attached to a leather lining. As we have seen in the chapter on the Construction of Armour, at a later period these taces were held together by sliding rivets, which allowed a certain amount of vertical play. Plate armour, during the earlier years of the fifteenth century, was naturally in a somewhat experimental state, and we find frequent examples of the old forms and fashions in contemporary representations. About the year 1440 appears a distinct style, called ‘Gothic’, which, of all types of defensive armour, is perhaps the most graceful. This term, ‘Gothic,’ is as inappropriate, in the relation which it bore, to armour as to architecture; but its use is so general that we must perforce adopt it for want of a better. The salient points of Gothic armour are the sweeping lines embossed on its surfaces ([Plate VIII]). The cuirass is generally made in two pieces, an upper and a lower, which allows more freedom for the body. From the taces are hung Tassets, ending in a point towards the lower edge. The later form of Gothic breastplate is longer, and the taces fewer in number. Armour was so frequently remade to suit later fashions, or, from lack of antiquarian interest, so often destroyed, that there is little of this Gothic armour existing in England, except those suits which have been acquired from the Continent by private collectors or public museums. Almost all of them are incomplete, or, if complete, have been restored—particularly the leg armour—at a recent date. Perhaps the finest example of this style is to be found on the ‘Beauchamp’ effigy in St. Mary’s Church, Warwick. Space will not allow of a full account of the documents connected with the making of this magnificent figure, which was executed by Will. Austin, a bronze-founder, and Bartholomew Lambespring, a goldsmith, in 1454, fifteen years after the death of the Earl. All these interesting details are given very fully in Blore’s Monumental Remains. To students of the constructional side of armour this monument is particularly valuable because all the fastenings, rivets, and straps are conscientiously portrayed, not only on the front, but also at the back. Charles Stothard, the antiquary, when making drawings of the figure for his work on Monumental Effigies, turned it over and discovered this example of the care and technical ability of the makers. The breastplate is short, and consequently the taces are more numerous than when the breastplate is longer. They consist of five lames. From the taces hang four tassets, two bluntly pointed in front, and two much shorter, and more sharply pointed, over the hip-bones. The taces are hinged at the side for convenience in putting on and off. The coudes are large and of the butterfly-wing type, and the sollerets are of normal length. In many of the Gothic suits these sollerets, following the custom in civil dress, were extravagantly long and pointed. This form is called ‘à la poulaine’, while the shorter kind are known as ‘demi-poulaine’.

Some writers are apt to confuse this term ‘poulaine’ with ‘poleyne’, the knee-cop used in the earlier days of the Transition Period; it is needless to point out that they are quite distinct. Baron de Cosson has put forward a most interesting theory in connexion with this effigy. He finds a close resemblance between the armour here portrayed and that shown in the picture of St. George, by Mantegna, in the Accademia at Venice. The Earl of Warwick, who is represented on this monument, is known to have been at Milan in his youth, and to have taken part in tournaments at Verona; so it is more than probable that he ordered his armour from the Milanese armourers, of whom the famous Missaglia family were the chief craftsmen, and who made some fine suits of this Gothic style.

Plate VIII

Armour of
(1) Archduke Sigismond of Tyrol, 1470, (2) Louis XIV of France, 1680.

The next distinctive style to be noticed is called the ‘Maximilian’. It can hardly be said that this new design was evolved from the Gothic, though of necessity there must be a certain similarity between them, at least in constructional detail. It is more likely, when we consider the individuality of the young Maximilian, especially as recorded in Hans Burgkmair’s Weisskunig, and his interest in every art, craft, and trade, that it was a fashion made, so to speak, to order. The Maximilian Period of armour may be said to last from about 1500 to 1540. It is distinguished by the radiating fluted channels that spread from a central point in the breastpiece, closely resembling the flutings of the scallop-shell ([Fig. 24]). The main lines of the suit are heavier and more clumsy than those of the Gothic variety. The breastplate is shorter, globose in form, and made in one piece as distinct from the Gothic breastplate, which was generally composed of an upper and lower portion. The pauldrons are larger and the upstanding neck-guards more pronounced. The coude and genouillière are both smaller than in the Gothic suit, and fit more closely to the limbs. In imitation of the civilian dress the solleret becomes shorter and broader in the toe. This variety is known as the ‘bec de cane’ or ‘bear-paw’ soleret. Some writers use the term Sabaton for the foot-defence of this period. This term is found (sabataynes) in the Hastings manuscript referred to in the preceding chapter. The pauldrons of the Maximilian suit are generally of unequal size; that for the right arm being smaller, to admit of the couching of the lance under the armpit ([Fig. 34]). The tassets are made in two or more pieces, connected with the strap and sliding rivet described in the preceding chapter. The fluting on the Maximilian armour is not without practical purpose, for, besides presenting the ‘glancing’ surface, which has been before referred to, it gives increased strength and rigidity without much extra weight. A modern example of this is to be found in the corrugated iron used for roofing, which will stand far greater pressure than will the same thickness of metal used flat.

Fig. 33.
Gothic suit.
Turin Armoury.		 Fig. 34.
Maximilian suit.
Vienna Armoury, 1523.