Although the matchless Beauchamp effigy ([Fig. 16]) was the work of an Englishman, it is probable that most of the fine suits in English collections, with the least possible pretensions to any historic connection with this country, were principally of Italian or German make, up to the meeting of Henry VIII. with the Emperor Maximilian; but a good deal of English armour was turned out later in Henry’s reign, and in that of Elizabeth, by the “Almayne” smiths, already referred to, brought over from Germany and Italy. The Armourers’ Album at South Kensington, with drawings of twenty-nine harnesses, throws much light on the armour of the earlier Elizabethan period, and some of the suits mentioned therein have been identified. It is certain, however, that the influence exercised by the imported German and Italian smiths on armour of English make was of comparatively short duration, for suits made by armour-smiths in this country after the early portion of Elizabeth’s reign were characterised by a vast inferiority in design, execution, and material to those turned out by their German and Italian confrères. With the exception of the fine specimens in the collection at the Tower of London, it is in Germany where most of the Gothic and Maximilian suits have been preserved, and a few are still to be met with in Italy and Spain. It is a great pity that the armour possessed by the nation should be scattered over so many places, instead of being concentrated in one grand national collection. Could this be arranged, we would possess an armoury worthy of the empire. The Wallace armour is a great accession to our store, but this collection still remains unpacked. The almost constant warfare, both in Germany and Italy, during the middle ages naturally made the manufacture of armour more of a speciality in these countries than in England, and the effect of the Italian “renaissance” was especially seen in profuse and artistic ornamentation, which at length came to be more regarded even than strength itself—it was, in fact, a fine art. Much of the armour was covered with embossed figures, engraved, chased, and damascened with gold. The work of the Augsburg, Nuremberg, and Innsbruck armourers was really, if not quite, equal, both in design and workmanship, to that of Italy; and many historic suits until recently classed as Italian have been since proved to be of German workmanship.
The counties of Northumberland, Cumberland, and Durham are not rich in armour, especially in that of the sixteenth century, and the only Gothic suit is, we believe, one in the author’s possession, and there is no perfect harness of the “Maximilian” type in the district. As many as possible of what may be termed north-country examples will be given in these pages.
Military experts of the sixteenth and even seventeenth centuries differ widely in their estimation of the value of steel armour in battle, and many of them strove valiantly against its growing partial abandonment. James I. is said to have made the remark that body-armour was a double protection; for it secured the wearer from being injured, and also prevented him from injuring others! It became impossible to forge armour, for man and horse, proof against the improved musketry fire; and little by little the old chivalry of battle had to give way against overwhelming odds. The full effect of the movement was, however, much retarded by various causes. The earlier firearms were clumsy, dilatory, heavy to carry, and ineffective in practice; besides new supports, formations and tactics took time to organise and develop before firearms could reap the full benefit of their superiority, which they eventually achieved with the musket, in conjunction with “covers” of halbardiers, and especially pikemen, before these footmen’s weapons were superseded by the bayonet. These causes, and the increasing demand for lighter and more easily manœuvred troops, and newer tactics demanding greater mobility and longer marches, brought about the downfall of the man-at-arms, who was effective only on the level; and with his disuse plate-armour had ceased to be generally worn.
PART VI.
A SLIGHT SKETCH OF SOME OF THE MORE IMPORTANT COLLECTIONS ABROAD.
The Königliche Zeughaus at Berlin.
This museum is rich in staff weapons and firearms, and is rapidly accumulating a very fine collection of armour, which has been greatly enriched by the purchase of the remarkably fine series of suits and weapons formerly belonging to Prince Carl of Prussia. The present emperor takes a great interest in the place, and has himself added several suits of armour.
The Königliche Historische Museum at Dresden.
This is perhaps the best collection for the student to visit, and is intensely valuable by reason of the strictly historic character of most of the specimens. The only weak spot is in the absence of any complete “Gothic” harness, but there are some fine pieces on exhibition. Next to suits with the date inscribed, those that are known to have been worn by historic personages provide valuable means of comparison for the student, and define the features and details presented within narrow limits as to time. The collection was, in a manner, begun by dukes Georg and Heinrich of Saxony from 1471 to 1541, and continued under the Kurfürsts. The first inventory was ordered by Kurfürst August, 1526–86, and then comprised twenty-eight mounted tournament suits for “rennen,” with their accessories and reinforcing pieces, as well as thirty-four tournament suits for “stechen.” Under the section in this volume headed “Tournaments” will be found explanations regarding the differences between “rennen” and “stechen.” The next inventory taken, 1576–84, exhibits the addition of a number of enriched suits, and between this time and 1611 many more were added. A large number of these historic suits stand, so to speak, almost in situ. In 1893 many suits and weapons were secured by purchase from the collection of Richard Zschille, and the gathering together of suits and arrangement of the foot-tournament hall accomplished. The collection thus forms a historic series of armament most unique and instructive, and at the same time most decisive in its influence on the many questions of form and opinion that have so agitated the minds of many writers on the subject. The collection of weapons of the “renaissance” and later may be described as unique in its beauty and arrangement. This section was founded in 1730, and contains an immense number of the choicest specimens, including many weapons for the chase. The collection of tools used during the sixteenth century for armour-making is most instructive and comprehensive. The catalogue by the curator, Direktor Max von Ehrenthal, is an educational book of the first order.