Chats on Military Curios

by Stanley C. Johnson

THE ACTION PART OF THE ABOVE.

The Studded and Splintered Armour Period.—This form of armour directly owes its introduction to the conflicts between the English and French, and the ideas for improvement which were prompted by actual experience on the battlefield. The style was none other than a piecing together of the best features of chain mail, plate, and cuir-bouilli. The bascinets of this time were unusual, having much the appearance of metal hoods, provided or not provided with visors. The surcoat and the chausses were essential features of the period.

The Camail and Jupon Period.—This is probably one of the most interesting and picturesque periods in the history of armour. The headgear was usually pointed and fitted down closely over the ears, but left the face free. Laced to the helmet and falling over the shoulders was a plastron of camail which protected the throat and neck from violence. The jupon was a garment which covered the body from the camail to just above the knees. It consisted of whatever material the wearer thought was the most impervious to blows, with, usually, a velvet covering, embroidered with a heraldic device.

The Surcoatless Period is easily recognized, as it was the earliest period in which a full set of armour was worn with no textile covering placed over it.[9] A feature of note was the loss of the camail throat-guard and the introduction of a light sheet-metal gorget. The camail was, undoubtedly, an efficient safeguard, but it was extremely weighty and so caused much inconvenience to the wearer.

[9] Ashdown, "British and Foreign Arms and Armour," p. 194.

The Tabard Period saw the introduction of many changes, which had for their object the greater protection of the armoured soldier; but the most distinguishing feature was the arrival of the tabard, a kind of sleeved surcoat, which covered the wearer down to the knees. It was of no fighting value, but gave dignity to those who displayed it. The salade also belongs to this period, both those with and those without visors, as well as the pauldron, a protection for the elbow, and the palette, which shielded the underneath portion of the shoulder-joint.

The Transition Period brought helmets which, by reason of their movable visors, cheek-pieces, and mentonnières, gave greater safety to the head. But the period is more readily distinguished by the mail skirt, which was worn suspended from the waist. Of this period Ashdown writes: "Very important alterations occurred in armour of this period, differentiating it from that of the preceding. The great pauldrons, exaggerated coudières, and general angularity, and one might almost say prickliness, of the later Tabard Period was modified to a smoother and rounder style, while it lost entirely that remarkable beauty of form which, however much distorted by fanciful additions, characterized the Gothic armour as a whole. The beautiful flutings and ornamental curves disappeared to make way for a heavy, cumbersome style indicative of German stolidity, and in direct antagonism to the mobile quickness and agility suggested by the majority of suits dating from the latter half of the previous century."[10]

[10] "British and Foreign Arms and Armour," p. 270.

Maximilian Armour.—With the gradual employment of gunpowder even the best kinds of armour lost their military value, and, consequently, the sixteenth century saw a decline in the use of steel suits for purposes of warfare. There was no reason, however, why steel-clad men should not continue to be seen at tilting tournaments, even though the arquebus had proved its value in dealing death and destruction. Consequently we find that armour was still used during this century at these functions of chivalry, and it was the kind favoured by Emperor Maximilian which was mostly worn—hence the name. Its outstanding features were excessive ornamentation and artistic finish.

The Half-Armour Period.—This is the period during which steel dress was gradually dying out. "The period exhibits a brutal strength and crudity in armour which forcibly suggests boiler-plate work. The defences were simply made to cover the vital parts of the body with the maximum amount of efficiency, without any consideration whatever for gracefulness of outline or beauty of surface."[11] The metal covering of these times was obviously fashioned with the idea of making a compromise between protection and mobility, and it gradually dwindled until the head alone was safeguarded.