The art of the armourer was in early mediæval times the art of the chain maker. The chain coat, or coats of mail, reached in early days as far as the knees. Finally this developed into an entire covering for the man, with head gear as well; of course this form of armour allowed of no real ornamentation, for there was no space larger than the links of the chain upon which to bestow decoration. Each link of a coat of mail was brought round into a ring, the ends overlapped, and a little rivet inserted. Warriors trusted to no solder or other mode of fastening. All the magnificence of knightly apparel was concentrated in the surcoat, a splendid embroidered or gem-decked tunic to the knees, which was worn over the coat of mail. These surcoats were often trimmed with costly furs, ermine or vair, the latter being similar to what we now call squirrel, being part gray and part white. Cinderella's famous slipper was made of "vair," which, through a misapprehension in being translated "verre," has become known as a glass slipper.
After a bit, the makers of armour discovered that much tedious labor in chain making might be spared, if one introduced a large plate of solid metal on the chest and back. This was in the thirteenth century.
| ARMOUR, SHOWING MAIL DEVELOPING INTO PLATE |
The elbows and knees were also treated in this way, and in the fourteenth century, the principle of armour had changed to a set of separate plates fastened together by links. This was the evolution from mail to plate armour. A description of Charlemagne as he appeared on the field of battle, in his armour, is given by the Monk of St. Gall, his biographer, and is dramatic. "Then could be seen the iron Charles, helmeted with an iron helmet, his iron breast and broad shoulders protected with an iron breast plate; an iron spear was raised on high in his left hand, his right always rested on his unconquered iron falchion.... His shield was all of iron, his charger was iron coloured and iron hearted.... The fields and open spaces were filled with iron; a people harder than iron paid universal homage to the hardness of iron. The horror of the dungeon seemed less than the bright gleam of iron. 'Oh, the iron! woe for the iron!' was the confused cry that rose from the citizens. The strong walls shook at the sight of iron: the resolution of young and old fell before the iron."
By the end of the fourteenth and early fifteenth centuries, whole suits of armour were almost invariable, and then came the opportunity for the goldsmith, the damascener, and the niellist. Some of the leading artists, especially in Italy, were enlisted in designing and decorating what might be called the armour-de-luxe of the warrior princes! The armour of horses was as ornate as that of the riders.
The sword was always the most imposingly ornamented part of a knight's equipment, and underwent various modifications which are interesting to note. At first, it was the only weapon invariably at hand: it was enormously large, and two hands were necessary in wielding it. As the arquebuse came into use, the sword took a secondary position: it became lighter and smaller. And ever since 1510 it is a curious fact that the decorations of swords have been designed to be examined when the sword hangs with the point down; the earlier ornament was adapted to being seen at its best when the sword was held upright, as in action. Perhaps the later theory of decoration is more sensible, for it is certain that neither a warrior nor his opponent could have occasion to admire fine decoration at a time when the sword was drawn! That the arts should be employed to satisfy the eye in times of peace, sufficed the later wearers of ornamented swords.
Toledo blades have always been famous, and rank first among the steel knives of the world. Even in Roman times, and of course under the Moors, Toledo led in this department. The process of making a Toledo blade was as follows. There was a special fine white sand on the banks of the Tagus, which was used to sprinkle on the blade when it was red hot, before it was sent on to the forger's. When the blade was red hot from being steeped four-fifths of its length in flame, it was dropped point first into a bucket of water. If it was not perfectly straight when it was withdrawn, it was beaten into shape, more sand being first put upon it. After this the remaining fifth of the blade was subjected to the fire, and was rubbed with suet while red hot; the final polish of the whole sword was produced by emery powder on wooden wheels.
| DAMASCENED HELMET |
Damascening was a favourite method of ornamenting choice suits of armour, and was also applied to bronzes, cabinets, and such pieces of metal as lent themselves to decoration. The process began like niello: little channels for the design were hollowed out, in the iron or bronze, and then a wire of brass, silver, or gold, was laid in the groove, and beaten into place, being afterwards polished until the surface was uniform all over. One great feature of the art was to sink the incision a little broader at the base than at the top, and then to force the softer metal in, so that, by this undercutting, it was held firmly in place. Cellini tells of his first view of damascened steel blades. "I chanced," he says, "to become possessed of certain little Turkish daggers, the handle of which together with the guard and blade were ornamented with beautiful Oriental leaves, engraved with a chisel, and inlaid with gold. This kind of work differed materially from any which I had as yet practised or attempted, nevertheless I was seized with a great desire to try my hand at it, and I succeeded so admirably that I produced articles infinitely finer and more solid than those of the Turks." Benvenuto had such a humble opinion of his own powers! But when one considers the pains and labour expended upon the arts of damascening and niello, one regrets that the workers had not been inspired to attempt dentistry, and save so much unnecessary individual suffering!
On the Sword of Boabdil are many inscriptions, among them, "God is clement and merciful," and "God is gifted with the best memory." No two sentiments could be better calculated to keep a conqueror from undue excesses.