[III]
GOTHIC ARMOUR
Plate armour reached the perfection of workmanship in the second half of the fifteenth century. At no period was it so light, yet impervious, with curves and angles so admirably directed to deflect the impact of sword or lance, and articulations so skilfully devised to mitigate the restraint on freedom of movement necessarily imposed by a sheathing of steel. Never was armour so closely fitted to the contour of the body, and thus so elegant, so easily and therefore so constantly worn. This, the so-called “Gothic Armour,” is the cynosure of collectors, and is so rarely to be obtained that a fairly perfect cap-à-pie suit may command some £2000.
This Gothic armour is the armour of the Van Eycks and Memling, of Perugino and Leonardo, and of the earlier works of Albert Dürer. The sumptuously illuminated French and English manuscripts of the fifteenth century depict it in use in every vicissitude of war or combat, by sea and land, on horse and foot, and testify how little it impeded the freedom of action of the wearer. They show that it was rarely concealed in campaigning by any textile garment, and also that when worn by prince or noble, it might be gilded, entirely or partially, even almost fantastically. Thus the upper half may be gilt, and the nether limbs left burnished steel; or these gilt and the body steel; but more often the alternate plates of the articulated breast and back defences, the arms, or the elbow and knee pieces, are gilt, while the rest presents the normal sheeny surface of steel.
The general characteristics of Gothic armour have been described in [Armour in England], illustrated in [Fig. 19], by the fine and accurately modelled suit of the Beauchamp effigy at Warwick. Though many fine suits have been brought to this country from abroad, none are in any way connected with English wearers, and none could therefore be illustrated in the former monograph. It seems incredible that nothing should have been preserved either of the weapons or armour with which the long struggle for supremacy in France was maintained during the minority and rule of a king, too studious and placable for days when his turbulent subjects cared only for war. Of the armour and weapons of the thousands of men-at-arms who fell victims to the Wars of the Roses, the direct outcome of the disappointing issue of the French Wars, and so annihilating to English art, perhaps but a helmet and a few weapons remain. The extermination of the old nobility; the completeness of the change in habit and thought introduced into this country by the Renaissance, affecting alike art, literature, and costume; the change in religion, the revolution in the science of warfare, and the absolute centralisation of the ambitious and luxurious nobility in the court or camp of Henry VIII., together with that vainglorious and wealthy despot’s passion for extravagant dress, novelty and pomp, combined to break most effectually with the past and to render all Gothic armour mere obsolete lumber. Contemporary pictures of Henry VIII.’s proceedings, especially of his meeting with Maximilian, in which the English retinue is equipped in the new closed armet while Germans wear the old visored sallad, as well as the accounts of his forces and his purchases of arms, convince us that out-of-date armour and weapons, even if still serviceable, were no longer, as heretofore, passed on to the lower ranks of retainers. Hall relates of the muster of the city bands in the thirty-first year of Henry VIII. that “all were put aside who had Jackes, coates of plate, coates of mail, and bryganders, and appointed none but such as had whyte harness, except such as should bear the morish pykes, which had no harness but skulles.” The destruction of obsolete armour in this reign must have been very complete, for no suits of the Gothic armour worn down to this date by the fathers and grandfathers of the courtiers of Henry have been preserved.
Plate III.—Half Suit, engraved and parcel-gilt. Collection of the Duke of Westminster.
France and the Low Countries have been swept nearly as bare, anything that might have been spared by former ages having been finally destroyed when the houses of the nobility were gutted during the Revolution. In more conservative Italy and Spain a few Gothic suits have escaped destruction, and though the Art Renaissance of the one, and wealth and pride of the other, were inimical to the preservation of obsolete arms, yet probably some few specimens have passed from the hands of private possessors into those of wealthy amateurs of France and England. Germany, however, has ever been the inexhaustible treasure-house whence Gothic arms and armour have leaked from the hands of private possessors into those of collectors. In Germany even the trading towns had clung to their ancient buildings, walls, and traditions, and in many of the old Town Halls the furniture, arms, and weapons of the civic guards, and the old implements of punishment and torture, are still preserved. The innumerable feudal castles of the lesser nobility have to a yet greater extent preserved the belongings of their ancient occupants, who clung to their titles, heraldry, arms, and weapons as symbols of vanishing rights and power, and of ancient pretensions and privileges, so out of harmony with the world beyond. The ubiquitous and assiduous dealer has long found in them a happy hunting-ground for arms and weapons, whence to obtain the bulk of those he disposed of.