Fig. 11.—Suit of Maximilian Fluted Armour. Belonging to Mr. Percy Macquoid.
The Maximilian fluted armour is a development of this, belonging, however, rather to Renaissance than Gothic times. With its introduction the elegance so distinctive of late Gothic armour passed definitely out of fashion and gave place to armour in which the opposite characteristics were sought. The flutings which invest the Maximilian suits with so much character must have been suggested more or less by the shell-like ridgings and flutes of Gothic armour. The leading idea was the substitution of a stiff unyielding defence for one that was supple and pliable. The articulations of the breast and back plates—except in rare instances, such as the magnificent Nuremberg suit formerly worn by Lord Stafford, in which the breast-plate was formed of two pieces and decorated with graceful open-work tracery—were wholly abolished, and replaced by a stout and rigid pectoral more adapted to receive the shock of the lance in the tilt-yard. The form of tourney had changed, and was now chiefly tilting with a light and hollow lance, calculated to shiver at the impact, as may be seen in specimens still preserved in the Tower. The pliable Gothic suits adapted for mixed tourneys and for actual warfare were out of place in the tilt as now practised; and the heavy man-at-arms in full cap-à-pie armour had ceased to play the preponderating part in war and was shortly destined to disappear from the field. No longer was his function, as hitherto, to engage in the melée, and bear the brunt of the battle: this was sustained by the pike, arquebus, light-armed cavalry and artillery; the heavy-armed cavalry being reserved for charges in which the weight of man and horse sheathed in steel might ride down the opposing force.
Plate VI.—Casque of an Officer of the Guard of Cosmo de’ Medici. Collection of Mr. David Currie.
Fig. 12.—Maximilian Armour from Eaton Hall. In the possession of the Duke of Westminster, K.G.
All the cap-à-pie suits of fluted Maximilian armour resemble each other in their more salient characteristics. They are extremely defensive and well made, with every piece more or less fluted, except the greaves, which are usually perfectly plain. Many of the pieces have turned-over edges worked into cable patterns. The pauldrons and coudières are well developed, the gauntlets mittened, sollerets with very broad and square toes, breast-plate generally globose, but sometimes brought to a blunt point, often with a roundel guarding the left arm-pit. The armet has usually a low central cabled comb with parallel flutes on either side, occasionally there are three or five combs. The visor is usually thrown into three or four horizontal peaks or ridges, often with the underhung look believed to have been introduced in compliment to the House of Hapsburgh. An almost equally common form is the puffed visor, but the form of the head-piece is generally more varied than that of the rest of the suit. The fine Nuremberg suit, [Fig. 11], owned by Mr. Percy Macquoid, shows the bellows visor and the rope crest, and in it all the leading characteristics of Maximilian armour are well displayed, especially the duck-bill sollerets, the flutings of which boldly finish in ram’s horns. The suit formerly belonged to the King of Prussia, and seems to be perfect, except the collar, an apparent restoration.