CHAPTER XII

Fig.242.—Helmet,c.1415.Fig.243.—Robert, Lord Ferrers of Chartley, 1407. Merevale Abbey Church, Warwickshire.With the advent of this period we find the knightly defence consisting essentially, for the first time in English history, of a complete suit of plate with no textile covering whatever worn over it. Hence the term “Surcoatless Period,” which distinguishes it from any preceding or succeeding era. The camail was now finally abolished after being in vogue in one fashion or another for over one hundred years. Its great recommendation was mobility, as it enabled the wearer to move his head easily in almost any direction, but the great detraction was undoubtedly the weight. The bascinet itself was heavy, but when the thick curtain of chain mail was added it must have been almost insupportable, as practically the whole weight was borne by the head. Now, however, a gorget of plate was substituted for the camail (Fig. 243), and in order to relieve the pressure upon the head still further, the bascinet was so formed as to rest upon the gorget, to the upper part of which it was affixed in such a manner that it allowedthe head to be turned right and left. Thus the defences for the head and neck, instead of being supported by those parts, were transferred to the shoulders. The bascinet, as it gradually developed into the barbute type, became more globular in form, although still retaining the pointed apex (Fig. 242); the lower portion which protected the chin, and known as thebavière, was riveted to the upper, generally near the temples. The breastplate, now visible for the first time, is of globular form and provided with a backplate; from it one can easily perceive how the knights of the Camail and Jupon Period obtained the peculiar globose formation of the upper portion of the body. From the waist, and connected with the breastplate, depended a row of plates or lames of steel overlapping each other and made in various designs; these were denominated thetaces. To support them a lining of leather or other strong material was used underneath, to which they were firmly affixed. At first the skirt of the hauberk is generally shown, similar to its former appearance under the jupon, but after a time, probably about 1420, the hauberk was discarded, and the knight relied for protection upon his plate armour and padded gambeson alone. Round the taces the hip-belt was worn horizontally during the earlier part of this period, with the sword and misericorde depending as in the time of the camail and jupon; but subsequently the style was modified, and innovations crept in which will be dealt with later. Laminated epaulières were still in use to protect the shoulders, but instead of the lames being prolonged in front to protect the goussets (as shown in the Braunstone and d’Eresby brasses), a plate of varying form, called apalette, was affixed to the cuirass by a strap, which admitted of greater freedom for the arms. The brassarts were often formed of lames of plate riveted together, though the older form of front and back plates was in use. The coudières are remarkable for the beautiful fan-like shape of the outer plate, which was enlarged in order to afford extra protection to the elbow-joint, and in some cases was of very large proportions. The vambraces show no change. The gauntlets were larger in the cuffs than those of the preceding period: they retained the gadlings and were often of most elaborate workmanship; the fingers remained separate and conformed to the natural shape, finger-nails being often engraved upon them to complete the resemblance. The cuissarts, genouillières, grevières, and sollerets, did not differ essentially from those of the Camail Period, except in the richness of ornamentation which was at times shown. One point, however, and an entirely new one, is exemplified upon a few brasses—the protection of the back part of the knee-joint by small lames of steel. The skilful and costly nature of this defence prevented its general adoption; it was revived, however, at a later period, during the early part of the sixteenth century, and became fairly prevalent.PLATE XVIII*Armour made for the Infante, afterwards Philip III.A. F. CalvertThe sword was but slightly altered from its former shape, the chief difference being the quillons, which were straight and of considerable length, and the general elongation of the grip, whereby it developed into more of a hand-and-a-half, or bastard sword, than formerly (Fig. 244). It should be explained that in wielding this weapon the right hand only would be generally used, but upon occasion, in order to give extra effect to a stroke, the left hand could be brought up to the pommel, which was invariably pear-shaped in order to insure a firm grip. The misericorde was suspended as usual upon the right side, but the point of the blade is now directed towards the rear, and is generally hidden in brasses by the body of the knight (Fig. 245). One of the characteristics of this period should be specially noted, viz. the mode of suspension of the sword by a narrow band passing diagonally over the front of the body from the right hip to the left side, and occasionally, but rarely, furnished with a buckle. The inception of this style is shown upon the brass of a knight in Laughton Church which exhibits both hip-belt and sword-belt worn over the jupon; it prevailed in England for approximately sixty years (Fig. 241).Fig.244.—Knight, 1410. South Kelsey Church, Lincs.Fig.245.—Sir Thomas Swynborne, 1412. Little Horkesley Church, Essex.Fig.246.—Sir Thomas de St. Quintin,c.1420. Harpham Church, Yorkshire.Fig.247.—Coudière, Lord Camoys, 1424. Trotton Church, Sussex.Fig.248.—Coudière, Peter Halle, 1420. Herne Church, Kent.One of the earliest examples in brasses of this period is that at Great Tew Church, Oxfordshire, referred to on p.192as being of a transition character, in consequence of the camail appearing beneath the gorget. The bascinet and bavière are in one piece, and the whole revolves upon the gorget, which is probably prolonged upwards insidethe headpiece. The placcates are oviform; the upper lame of the taces covers the lower part of the breastplate; the hauberk and hip-belt are in use, and the great heaume is shown under the head, to be worn as usual over the bascinet. Robert, Lord Ferrers of Chartley, 1407 (Fig. 243), presents a very unornamental suit of this earlier portion of the period, showing the globular helmet with the mentonnière riveted to the upper portion and revolving within the gorget; it should be compared with the Wylcotes brass. Sir Simon de Felbrygge, K.G., 1413, is shown with the royal banner of King Richard II., and wears the diagonal sword-belt; he is furnished with many lames in his epaulières and has shield-shaped palettes, while the coudières show the fan-shaped plates in their incipient stage. The Yorkshire St. Quintins appear to have been eccentric in the style of their armour. We have referred to peculiarities in respect of Sir John de St. Quintin and his brass, 1397 (videp.191), and in that of Sir Thomas de St Quintin, in Harpham Church, Yorkshire (Fig. 246), we have more characteristic originalities. The orle round the bascinet is of very large proportions, and ornamented with a brooch in front; the gorget consists of three plates, the upper one of peculiar form, showing ridged projections over the cheekplates of the bascinet, while the epaulières are more of the nature of the pauldron of a subsequent period, in being composed of a single piece. The arm openings are protected respectively by a roundel and a shield-shaped palette, and roundels are also used at the elbows, these being strongly reminiscent of the early camail days (videSir John de Argentine, 1360, p.175).Fig.249.—Bascinet, Sir William Calthorpe, 1420. Burnham Thorpe Ch., Norfolk.The hip-belt is among the latest examples of that fashion, having been generally discarded by this date; it is very elaborate, and suggestive in point of width of that of the brass of Sir John de St Quintin in 1397 (p.191). The hem of the hauberk is wavy, and so also is that of the gambeson showing beneath it; this is possibly the only example of the gambeson being visible at this late period. But perhaps the chief points to be observed are the laminated defences for the back parts of the genouillières. If they are lames they probably represent the earliest development of this nature; on the other hand the artist may have intended to represent banded mail, and omitted the small vertical lines. The development of the fan-shaped coudière may be well observed in the brass of Lord Camoys, in Trotton Church, Sussex (Fig. 247), where the defence, both inside and out, may be seen, but the strap or other fastening joining the two sides of the opening is not shown. The coudière may have been riveted to the brassarts and vambraces, in which case it was not needed. A brass in which the fastening is apparent is that of Peter Halle,c.1420, in Herne Church, Kent (Fig. 248), where the strap may be noticed crossing the mail. Upon the brass of Sir William Calthorpe, 1420, in Burnham Thorpe Church, Norfolk, the bascinet is shown very highly ornamented with a border; he also wears a collar of Esses round the neck (Fig. 249).The brass of Sir John Lysle (Fig. 250) in Thruxton Church, Hampshire, bears the date 1407, and if the effigy were executed at that time, or approximately so, we have the earliest example of complete plate in existence in England. There are, however, certain points about the armour delineated which lend themselves to the supposition that the brass was executed some ten or more years later, viz. the absence of any hauberk; the development of the fan-shaped coudières; the position of the misericorde and the sword-belt, &c. The distinction probably belongs to the Ferrers brass.The brass of Sir John de Leventhorpe, 1433, at Sawbridgeworth Church, Herts (Fig. 251), is interesting as showing the development of the lowermost tace into the subsequent tuilles of the Tabard Period. In this effigy the lame in question is divided into two tuilles which still have the same width, and partake of the nature of taces; each tuille is suspended by two buckles. This is one of the earliest representations of this feature in England.Fig.250.—Sir John Lysle, 1407. Thruxton Church, Hants.Fig.251.—Sir John de Leventhorpe. 1433. Sawbridgeworth Church, Herts.Fig.252.—Shields. (Harl. MS., 4379.)The shields used in the Surcoatless Period were similar to those in the preceding, but manifest infinitely greater varieties. They were invariably small in size and notched for the lance, but as every knight apparently designed his own, it is obviously impossible to enumerate or illustrate them. They all, however, agreed in presenting a concave surface to the opponents lance, whereby it was prevented from glancing upwards or downwards and thus inflicting injury, while the general tendency was to deflect the lance-point to the left, whereby it touched neither horse nor rider. The examples here given are from one of the Harleian MSS., No. 4379 (Fig. 252), and may be taken as a general type of the knightly shield in this and also in the preceding period.Fig.253.—Richard de Beauchamp, Earl of Warwick, early 15th century. (From the Warwick Roll.)Fig.254.—Billman, Richard II. (Roy. MS. 20, C. VII.)Remembering that there was no arbitrary law regulating the military equipment and dress of the ordinary soldier at this period, it is somewhat difficult to deal decisively with the subject, but a few examples and some broad outlines may probably be sufficient to enable the reader to grasp a general idea of the subject.The Man-at-armsin the middle of the fourteenth century was generally armed with the lance, sword, and mace, the martel-de-fer or a military pick at times supplanting the latter. The shield was heater-or heart-shaped and notched, but sometimes circular, and of various sizes. A hauberk or jacque reaching to the knees, and having sleeves to the elbow, constructed of any of the numerous kinds of jazeraint work, or of banded mail, covered his body; it was reinforced at the shoulders, elbows, and knees with roundels, caps, or plates, while two mammelières were in use to cover the chest and act more or less as breastplates. Greaves and vambraces of leather strengthened with splints of iron, with thick leather gauntlets and shoes, guarded the limbs, while a skull-cap with banded camail or a thick leather gorget depending, protected the head and neck. Either a gambeson or a leather tunic under the jacque completed the equipment.Fig.255.—Cuir-bouilli headpiece. (Roy. MS. 20, C. VII.)Fig.256.—Soldier,c.1400. (Roy. MS. 20, C. VII.)Billman, Pikeman, or Foot Soldier.—The pikeman of the period was equipped with a more elaborate defence than is generally credited, and consequently his comparative immunity from hurt by the lethal weapons of the time goes far to explain the determined resistance made by the infantry. The very fact that there was no uniformity in his accoutrement rendered him a formidable foe to the knight, who naturally directed his lance to that portion of an enemy’s person possessing the least defensive equipment; but it required more than human divination in the excitement of a contest to discern the weak points in the equipment of men all armed in a different manner. The broad rule respecting the armour of the infantry in mediæval times was that the knightly defence of one period became the soldiers salvation in the succeeding period. At the same time many a contemporary piece of equipment was obtained from the field of battle and used to augment the personal defence. The figure (Fig. 254) (taken from the British Museum MS. Roy. 20, C. VII.) may be taken as a general type of the billman of the reigns of Edward III., Richard II., and possibly Henry IV. and V. Upon the head he wears a skull cap composed of two pieces of iron riveted together with reinforcing strips of metal; from this depends a camail of banded mail which is strengthened by a plate defending the cheeks, chin, and throat, in imitation of the bavière then coming into vogue with the knightly class. Possibly this piece was home-made, and the village blacksmith had a hand in its fabrication. The body is protected by a leathern jacque having roundels at the shoulders with crude brassarts, coudières, and vambraces, possibly of leather. A tegulated skirt of pieces of leather, horn, oriron plates reaches to the knees, which are defended by metal genouillières, from which depend grevières of metal or cuir-bouilli. Indications of cuissarts are apparent, and the legs are covered with chausses of banded mail in addition. It will thus be seen that the billman’s equipment for defence was but little inferior to that of the knight. No sword or mace is shown, but these were in common use. The fauchard he wields is nine feet in length, with cutting edges upon both sides, a sharp pike-point at the end, and a hook with which to dismount a horseman. A second example from the same MS. (Fig. 255) shows a head-covering of cuir-bouilli in the form of overlapping leaves or scales, while the camail is of soft pliable leather. In this cut the small badge is delineated upon the left breast that denoted the leader under whom the soldier fought. Another soldier with a circular shield and armed only with a sword, is taken from the MS. above named (Roy. 20, C. VII.); he wears a piece of tegulated defence, probably leather, over a leathern jerkin, while his sleeves appear to be of a stuffed and quilted nature, similar to a gambeson. He has demi-plate upon the legs and is furnished with a bascinet (Fig. 256). A soldier is also shown wearing the high bascinet so characteristic of the knight of the early Camail Period; it had doubtless formed part of some loot, and the wearer added tothe defence a large bavière which also partially served the function of a breastplate, while a tippet of banded mail covers the shoulders (Fig. 257). Some of the foot soldiers carried a small circular shield or buckler about 9 inches to 12 inches in diameter and furnished with a boss in the centre; the left hand would be able to grasp both it and the pike as well.Fig.257.—Soldier with plate gorget,temp.Richard II. (Roy. MS. 20, C. VII.)Fig.258.—Spearman,c.1400. (Roy. MS. 20, C. VII.)Towards the end of the reign of Richard II. the fashion of wearing a houppelande over the armour came in vogue both for knights and common soldiery, thus preventing the armour from being seen, except the lower parts of the legs (seeFig. 258). With this incongruous habit appeared also the snout-faced or pig-faced visor of alarming proportions, serving as a visor, gorget, and pectoral combined. The annexed cut is taken from a group of combatants in Roy MS. 20, C. VII., who are all defended in the same ungainly manner. With the advent of the reign of King Henry IV. this visor became of less size and different shape, while reinforcements to the bascinet were added to compensate. InFig. 259, from Roy. MS. 15, D. III., a soldier is shown with bascinet and neck-guard affixed; to protect the throat an extra plate is used swinging upon pivots on either side of the helmet—a crude bavière. Another foot soldier isshown with a similar defence (Fig. 260), but his bascinet is globular at the top and furnished with a projecting neck-guard, in which we cannot fail to see the salade in its early stage. We may refer this to the reign of Henry V., as well as that shown inFig. 259. Another bascinet of the same period is given inFig. 262, where the small holes for fixing the lining are shown, and also those round the lower edge and opening for the face, for the camail. This bascinet still further suggests the salade, as does also the one in the British Museum (Fig. 263).Fig.259. (Roy. MS. 15, D. III.)Fig.260. (Roy. MS. 15, D. III.)Fig.261.—Soldier, Richard II., gorget over camail. (Roy. MS. 20, C. VII.)Fig.262.—Bascinet,temp.Henry V.Fig.263.—Bascinet from Brit. Mus.Fig.264.—Quivers and scimitar. (Roy. MS. 14, E. IV.)The Archer.—The equipment of the archer was essentially of a lighter nature than that of the billman. A pot-de-fer upon the head, with coif-de-mailles or camail; a brigandine or jacque of pourpointerie, covering at times a small plastron-de-fer; upon the left arm a bracer, otherwise legs and arms in cloth stockings and sleeves; a girdle with axe, sword, or scimitar depending therefrom; a quiver at the right hip with its burden of goose-or pigeon-feathered arrows, and the long yellow bow slung at the back in company with a small round target—such was the war dress of the mediæval bowman. At times a stake sharpened at both ends was carried to hinder a charge of cavalry, but this was generally improvised upon the spot. In Roy. MS. 14, E. IV., the quivers at this period are shown to be of an elongated bag form, and quite different to the late fifteenth-century style. A very favourite weapon with archers, judging by the number of men represented wearing it in all MSS. of the time, is the scimitar, which is invariably of the shape shown inFig. 264. The curious guard for the fingers, springing from the pommel, is very characteristic.Fig.265.—Weapons from Roy. MS. 20, C. VII. Nos. (left to right)—7. Pole-axe (the voulge); 2. Pole-axe; 4. Pike; 1. Pike; 3. Pike; 5. Pole-axe (bardiche); 6. Fauchard (guisarme).The weapons used by the billmen of this period are well shown in Roy. MS. 20, C. VII., and are reproduced inFig. 265. No. 1 is shown in use by a soldier whose left hand is guarded by the circular projection, which, together with the long point, was made of steel. The shaft of this formidable pike or partisan was about five feet in length, the point three feet, and it depended for its efficacy upon its armour-piercing qualities. Nos. 2, 5, 7 are the pole-axe with varying modifications, the total length, including shaft, being about eight feet; it was apparently a favourite weapon, and is many times represented, No. 5, the bardiche, however, being somewhat uncommon. Nos. 3 and 4 are simple forms of pikes, with a cross-guard in one case, and an armour-piercing spike in the other. No. 6 is the deadly fauchard, a variety of the guisarme, evolved originally from the scythe; it was a common weapon in theMiddle Ages, but inflicted such ghastly wounds with its razor-like edges back and front, that its use in Christian warfare was often deplored. Its total length was usually about eight feet.Fig.266.—Combat with pole-axes between Earl of Warwick and Sir P. Malacat. (Cott. MS., Julius, E. IV.)The antiquary, John Rouse, of Warwick, has left us some excellent drawings of military equipment of the fifteenth century, which are preserved in the Cottonian MS., Julius, E. IV. They illustrate the romantic adventures of Richard de Beauchamp, Earl of Warwick, and one of these spirited sketches is introduced here (Fig. 266). It represents a combat with pole-axes between the earl andSir Pandulf Malacat at Verona, when Sir Pandulf was badly wounded upon the left shoulder, and would probably have fared worse had not the combat been stopped. We gain an excellent idea from this sketch of the mode in which the gorget was adjusted, which is difficult to realise from a brass. The misericorde is suspended as in the later days of Richard II., and a central prolongation of the front taces is represented, which occurs upon several English brasses. The shape and character of the formidable weapons are well delineated in the sketch.PLATE XIX*Armour of Philip III., made by Lucio Picinino of MilanA. F. CalvertCHAPTER XIITHE TABARD PERIOD, 1430-1500Fig.267.—Tabard, William Fynderne, 1444. Childrey Church, Berks.Fig.268.—Tabard, Sir Ralph Shelton, 1423. Great Snoring Church, Norfolk.The sources of information for this period are considerably enlarged when compared with those preceding it, as, in addition to MSS., missals, brasses, and monumental effigies we may add paintings by the old masters, crude woodcuts following upon the introduction of printing, and, what is of still greater value, actual examples of arms and armour in our public and private museums, churches, &c. The fifteenth century probably saw a greater output of armour than any other in English history: the stirring times in France under the Duke of Bedford and other leaders at the end of the Hundred Years’ War was followed almost immediately by the thirty years of intestine strife of the Wars of the Roses. Under the stress of these conditions armour continued to improve in defensive power until, in the reign of Richard III. and the earlier part of that of Henry VII., it attained to its maximum stage of efficiency in England. In the combat during this century between the forgers of weapons of offence and the armour with which to resist them we have the greatest struggle ever witnessed in this country; so invulnerable did the plate become by completeness of covering and dexterity in tempering that all the efforts of the bowyer, fletcher, weapon-forger, and gunsmith had to be enlisted to break down the solidarity of the defence, and it was not until the succeeding century that the victory could be fairly claimed for the attacking faction. The Tabard Period witnessed every device in armour that the wit of man could evolve, and it was produced under those circumstances which would best achieve the desired result, namely the stress of urgent need. The name by which this age is known, that of the Tabard Period, has been selected by reason of the tabard being practically the only distinguishing feature which did not change, and was fairly persistent throughout. It is also used in contradistinction to the preceding Surcoatless Period. The tabard was a surcoat which was generally long in the body (to mid-thigh), and had sleeves to the elbow in the earlier portion of its existence; but in the later period the sleeves were much shortened, and the tabard at times only reached to the waist. It was split upon both sides, and the front and back portions fastened together by points, drawn closely together or left wide apart to show the armour beneath; occasionally no points whatever were used, and the front and back hung loosely from the shoulders. It served as a protection against sun and rain, and also as a means of personal adornment, being generally emblazoned upon the body and also on the sleeves with the armorial bearings of the wearer. It was of silk or other material, sometimes padded so as to hang stiffly; in most examples it depends in folds. An early brass showing this feature is that of William Fynderne, 1444, at Childrey in Berkshire (Fig. 267), where the armorial bearings are depicted upon the body and sleeves, both of which are long. An early tabard is that shown upon the brass of Sir Ralph Shelton, 1423, in Great Snoring Church (Fig. 268), which fits tightly to the figure, and the tincture of the body of the tabard has apparently been attempted by the engraver. Another early example is that of John Wantele, 1424, at Amberley Church, Sussex, where the arms are shown upon the body (which reaches almost to the knees) but not on the sleeves. Later examples are those of Sir John Say, 1473, at Broxbourne, Herts, and Piers Gerard, 1492, Winwick, Lancs. In the Roy. MS. 18, E. V., is a very spirited drawing of Julius Cæsarcrossing the Rubicon, in which he is represented as wearing a tabard. A very elaborate example,c.1500, is on the brass in Ormskirk Church, Lancashire, commemorating a former member of the Scarisbrick family (Fig. 269). The figure in question wears sabbatons.Fig.269.—Brass in the Scarisbrick Chapel of Ormskirk Church, co. Lancs., to a member of the Scarisbrick family of that name,c.1500.Fig.270.—Bascinet of one of the Neville family, Brancepeth, Durham.Fig.271.—Bascinet and orle, Sir Humphrey Stafford, 1450.The Helmet.—During the earlier part of the Tabard Period, until about 1450, the helmet differed but slightly from those shown in the Surcoatless, the modifications being chiefly in the form of the apex and the addition of a close-fitting visor. In the example shown (Fig. 270) the visor was probably rapidly adjusted to the lower studs in time of danger, or the heaume could be worn. The shape of the apex should be noted, and this feature is also somewhat similar in the helmet of John, Duke of Somerset,a.d.1444. In those cases where the knight trusted to the bascinet only, the bavière is raised considerably to guard the face. This is well seen in the brass of Sir Humphrey Stafford, 1450 (Fig. 271), where the orle is a prominent feature. An example is given here of a brass of a later period exhibiting armour of an earlier date, an occurrence which at times causes confusion. Sir John de Harpedon’s brass (Fig. 272) is well known inWestminster Abbey, and dates from 1457; the armour is most unusually simple for that period, and could well be attributed to thirty years earlier, except in regard to the gauntlets. There are no less than eleven lames in the taces.Fig.272.—The brass of Sir John de Harpedon.Fig.273.—Chapelle-de-fer,c.1485.About 1450 the Salade (Germ.schallern, fromschale, a shell, or Italiancelata) was introduced into England, and for a considerable time formed the headpiece of knights, men-at-arms, and archers. It rested entirely upon the head, and was not affixed in any way to the body armour. Its coolness was a great recommendation, as was also the facility with which the head could be moved in all directions. There appear to be two distinct head-pieces from which the salade could owe its development; the chapelle-de-fer is one, and it probably suggested the German shape. This was in use from the thirteenth to the fifteenth centuries, and consisted of a light iron headpiece with a flat broad brim turned down. In the earlier examples the brim projects equally all round, but later it is much flatter at the front than at the back, where it was drawn out to a point (seeFig. 273). The Italiancelatawas the second model from which the salade could trace its evolution; it was the helmet of barbute form referred to on p.173, and which was undoubtedly founded upon the Greek model. It gradually developed in the fifteenth century into the shape shown inFig. 274, losing its pointed apex and swelling outwards at the back of the neck. Upon their introduction into France, both German and Italian forms were classed under the name Salade. The salade in its primitive form was a head protection forged at first out of one piece of metal (Fig. 275andFig. 276) with a comb upon the crest and an occularium, which was made available by pulling down the front of the helmet until it rested level with the eyes. This was superseded by one having a movable visor which could be raised or loweredat pleasure, and generally when lowered was locked with a spring catch (Fig. 277). A few examples occur in which the long projection at the back is jointed after the form of the lobster’s tail, and at times the salade measured as much as sixteen or eighteen inches from front to back. An example weighing 5 lbs. is in Case 25 at the Tower of London, dating from 1450: it is of German make and still bright, though much pitted all over (Fig. 278). A very interesting example isFig. 279, in the Wallace Collection, dating from about 1460, which was probably used by a mounted archer. As in the Tower example, it is bright but pitted: the crown is without a ridge, but becomes combed at the tail; the form of the salade enables it to be thrown well back upon the head when not in use. The small holes round the visor were probably intended for the sewing in of a lining, and the pairs of holes at the sides show where the strong lining was affixed which supported the helmet itself. Salades of this shape are shown in contemporary paintings, those of Albert Dürer for example. The mentonnière was habitually used with the salade: it was a plate fastened by one, two, or three screws oralmayne (sliding) rivets to the upper part of the breastplate, and was moulded so as to cover the lower part of the face to the lips or nose and reach to the ears on both sides (seeFig. 280). In use the visor of the salade when lowered fell outside the mentonnière, thus effectually protecting the face of the wearer. A plate cheek-guard or bavière was worn at times, and this reinforcement is plainly seen in the salade, with crest, of the Duke Ludwig of Bavaria, 1449 (Fig. 281). A salade of German pattern with a very high crown is shown inFig. 282; the general typeof armour prevailing upon the Continent in 1450 is here presented, the laminated brassarts being a special feature. As a rule, however, a collar or standard of mail was deemed to be a sufficient protection under the mentonnière. An example of the mentonnière dating from about 1480 is No. 840 in the Wallace Collection; it has two plates, of which the upper one is held in position by a spring catch; it suggests the falling bufe of a later period.Fig. 283represents a salade of the end of the fifteenth century; it will be seen that a comb runs over the crown, and that a sliding neck-guard is used in place of a rigid tail. A magnificent example of Milanese workmanship is shown onPlate VII.*, p.60.Fig.274.—Italian celata.Fig.275.—German salade,c.1440.Fig.276.—Early salade.Fig.277.—Salade from Rhodes,c.1470.Fig.278.—Salade, 1450. (Tower of London.)Fig.279.—Salade,c.1460. (Wallace Collection.)Fig.280.—Mentonnière, in Whissonsett Church, Norfolk.Fig.281.—Schallern, with Crest of Bavaria (Duke Ludwig of Bavaria, 1449).Fig.282.—German type of salade and armour, 1450.Fig.283.—German schallern,c.1480.Fig.284.—Early Italian armet,c.1450.The Armet.—Towards the end of the Tabard Period the armet was introduced into England, and partially superseded the salade and other forms of head-protection. The origin of this helmet and the derivation of the name are equally involved in obscurity; but it probably first saw the light in Italy, and gradually spread through Germany into England. “Armet” may be derived from“elmetto” or “armetto,” little helm, or “heaumet,” the diminutive of “heaume.” The essential difference between the armet and all those head-pieces which antedated it was that, while the older styles had been put on by lowering them over the head and the weight had in nearly all cases been borne by the head, the armet opened out in its lower part upon hinges, and could thus be closed round the head and neck, while the weight was transferred to the gorget and thence to the shoulders. It was in all respects neater, lighter, and handier than either the salade or the bascinet, while providing a fine defensive form for both head and neck. The armets, like the bascinets, had in their earlier stages a camail attached by a row of vervelles (Fig. 284) and a reinforcing piece upon the forehead. The same pin and hinge arrangement peculiar to the bascinet is used for affixing the visor, which latter, by falling, secures the opening of the helmet in front, at the same time forming the occularium by leaving a space between its upper edge and the lower edge of the reinforcement covering the forehead. Under the hinges or pivots of the visor are theupper parts of the two chin-pieces, hinged to the crown, which overlap in front and are strapped together at the chin. At the back occurs a tailpiece from which projects a short stem to which is attached a flat disc, probably to protect the back of the helmet, which was its weakest part. An example in the Wallace Collection (Fig. 285), dating from 1470, has the stem remaining but not the roundel, while the holes for attaching the camail are well seen. The pivots for the visor are in the reinforcement in this case. Another armet from the same collection has the pointed visor and bavière in one plate, while the roundel is shown at the back (Fig. 286), and the latter example shows the camail superseded by the laminated gorget with which the armet articulated.Fig. 287also has the disc in position; it dates from 1480, is without any reinforcing piece upon the forehead, and the occularium is contained in the visor. No. 46 suit of armour in the Wallace Collection has an armet dating probably from 1490, with pointed visor and bavière in one piece; the neck portion is furnished with a hollow roping running round it, which fits upon and grips the upper lame of the gorget, which being perfectly circular, like the neck of the gorget, allows the head to be turned right and left. This was a feature of the close helmets of the succeeding century.

Fig.242.—Helmet,c.1415.

Fig.243.—Robert, Lord Ferrers of Chartley, 1407. Merevale Abbey Church, Warwickshire.

With the advent of this period we find the knightly defence consisting essentially, for the first time in English history, of a complete suit of plate with no textile covering whatever worn over it. Hence the term “Surcoatless Period,” which distinguishes it from any preceding or succeeding era. The camail was now finally abolished after being in vogue in one fashion or another for over one hundred years. Its great recommendation was mobility, as it enabled the wearer to move his head easily in almost any direction, but the great detraction was undoubtedly the weight. The bascinet itself was heavy, but when the thick curtain of chain mail was added it must have been almost insupportable, as practically the whole weight was borne by the head. Now, however, a gorget of plate was substituted for the camail (Fig. 243), and in order to relieve the pressure upon the head still further, the bascinet was so formed as to rest upon the gorget, to the upper part of which it was affixed in such a manner that it allowedthe head to be turned right and left. Thus the defences for the head and neck, instead of being supported by those parts, were transferred to the shoulders. The bascinet, as it gradually developed into the barbute type, became more globular in form, although still retaining the pointed apex (Fig. 242); the lower portion which protected the chin, and known as thebavière, was riveted to the upper, generally near the temples. The breastplate, now visible for the first time, is of globular form and provided with a backplate; from it one can easily perceive how the knights of the Camail and Jupon Period obtained the peculiar globose formation of the upper portion of the body. From the waist, and connected with the breastplate, depended a row of plates or lames of steel overlapping each other and made in various designs; these were denominated thetaces. To support them a lining of leather or other strong material was used underneath, to which they were firmly affixed. At first the skirt of the hauberk is generally shown, similar to its former appearance under the jupon, but after a time, probably about 1420, the hauberk was discarded, and the knight relied for protection upon his plate armour and padded gambeson alone. Round the taces the hip-belt was worn horizontally during the earlier part of this period, with the sword and misericorde depending as in the time of the camail and jupon; but subsequently the style was modified, and innovations crept in which will be dealt with later. Laminated epaulières were still in use to protect the shoulders, but instead of the lames being prolonged in front to protect the goussets (as shown in the Braunstone and d’Eresby brasses), a plate of varying form, called apalette, was affixed to the cuirass by a strap, which admitted of greater freedom for the arms. The brassarts were often formed of lames of plate riveted together, though the older form of front and back plates was in use. The coudières are remarkable for the beautiful fan-like shape of the outer plate, which was enlarged in order to afford extra protection to the elbow-joint, and in some cases was of very large proportions. The vambraces show no change. The gauntlets were larger in the cuffs than those of the preceding period: they retained the gadlings and were often of most elaborate workmanship; the fingers remained separate and conformed to the natural shape, finger-nails being often engraved upon them to complete the resemblance. The cuissarts, genouillières, grevières, and sollerets, did not differ essentially from those of the Camail Period, except in the richness of ornamentation which was at times shown. One point, however, and an entirely new one, is exemplified upon a few brasses—the protection of the back part of the knee-joint by small lames of steel. The skilful and costly nature of this defence prevented its general adoption; it was revived, however, at a later period, during the early part of the sixteenth century, and became fairly prevalent.

PLATE XVIII*Armour made for the Infante, afterwards Philip III.A. F. Calvert

PLATE XVIII*

Armour made for the Infante, afterwards Philip III.

A. F. Calvert

The sword was but slightly altered from its former shape, the chief difference being the quillons, which were straight and of considerable length, and the general elongation of the grip, whereby it developed into more of a hand-and-a-half, or bastard sword, than formerly (Fig. 244). It should be explained that in wielding this weapon the right hand only would be generally used, but upon occasion, in order to give extra effect to a stroke, the left hand could be brought up to the pommel, which was invariably pear-shaped in order to insure a firm grip. The misericorde was suspended as usual upon the right side, but the point of the blade is now directed towards the rear, and is generally hidden in brasses by the body of the knight (Fig. 245). One of the characteristics of this period should be specially noted, viz. the mode of suspension of the sword by a narrow band passing diagonally over the front of the body from the right hip to the left side, and occasionally, but rarely, furnished with a buckle. The inception of this style is shown upon the brass of a knight in Laughton Church which exhibits both hip-belt and sword-belt worn over the jupon; it prevailed in England for approximately sixty years (Fig. 241).

Fig.244.—Knight, 1410. South Kelsey Church, Lincs.Fig.245.—Sir Thomas Swynborne, 1412. Little Horkesley Church, Essex.Fig.246.—Sir Thomas de St. Quintin,c.1420. Harpham Church, Yorkshire.

Fig.244.—Knight, 1410. South Kelsey Church, Lincs.

Fig.245.—Sir Thomas Swynborne, 1412. Little Horkesley Church, Essex.

Fig.246.—Sir Thomas de St. Quintin,c.1420. Harpham Church, Yorkshire.

Fig.247.—Coudière, Lord Camoys, 1424. Trotton Church, Sussex.

Fig.248.—Coudière, Peter Halle, 1420. Herne Church, Kent.

One of the earliest examples in brasses of this period is that at Great Tew Church, Oxfordshire, referred to on p.192as being of a transition character, in consequence of the camail appearing beneath the gorget. The bascinet and bavière are in one piece, and the whole revolves upon the gorget, which is probably prolonged upwards insidethe headpiece. The placcates are oviform; the upper lame of the taces covers the lower part of the breastplate; the hauberk and hip-belt are in use, and the great heaume is shown under the head, to be worn as usual over the bascinet. Robert, Lord Ferrers of Chartley, 1407 (Fig. 243), presents a very unornamental suit of this earlier portion of the period, showing the globular helmet with the mentonnière riveted to the upper portion and revolving within the gorget; it should be compared with the Wylcotes brass. Sir Simon de Felbrygge, K.G., 1413, is shown with the royal banner of King Richard II., and wears the diagonal sword-belt; he is furnished with many lames in his epaulières and has shield-shaped palettes, while the coudières show the fan-shaped plates in their incipient stage. The Yorkshire St. Quintins appear to have been eccentric in the style of their armour. We have referred to peculiarities in respect of Sir John de St. Quintin and his brass, 1397 (videp.191), and in that of Sir Thomas de St Quintin, in Harpham Church, Yorkshire (Fig. 246), we have more characteristic originalities. The orle round the bascinet is of very large proportions, and ornamented with a brooch in front; the gorget consists of three plates, the upper one of peculiar form, showing ridged projections over the cheekplates of the bascinet, while the epaulières are more of the nature of the pauldron of a subsequent period, in being composed of a single piece. The arm openings are protected respectively by a roundel and a shield-shaped palette, and roundels are also used at the elbows, these being strongly reminiscent of the early camail days (videSir John de Argentine, 1360, p.175).

Fig.249.—Bascinet, Sir William Calthorpe, 1420. Burnham Thorpe Ch., Norfolk.

The hip-belt is among the latest examples of that fashion, having been generally discarded by this date; it is very elaborate, and suggestive in point of width of that of the brass of Sir John de St Quintin in 1397 (p.191). The hem of the hauberk is wavy, and so also is that of the gambeson showing beneath it; this is possibly the only example of the gambeson being visible at this late period. But perhaps the chief points to be observed are the laminated defences for the back parts of the genouillières. If they are lames they probably represent the earliest development of this nature; on the other hand the artist may have intended to represent banded mail, and omitted the small vertical lines. The development of the fan-shaped coudière may be well observed in the brass of Lord Camoys, in Trotton Church, Sussex (Fig. 247), where the defence, both inside and out, may be seen, but the strap or other fastening joining the two sides of the opening is not shown. The coudière may have been riveted to the brassarts and vambraces, in which case it was not needed. A brass in which the fastening is apparent is that of Peter Halle,c.1420, in Herne Church, Kent (Fig. 248), where the strap may be noticed crossing the mail. Upon the brass of Sir William Calthorpe, 1420, in Burnham Thorpe Church, Norfolk, the bascinet is shown very highly ornamented with a border; he also wears a collar of Esses round the neck (Fig. 249).

The brass of Sir John Lysle (Fig. 250) in Thruxton Church, Hampshire, bears the date 1407, and if the effigy were executed at that time, or approximately so, we have the earliest example of complete plate in existence in England. There are, however, certain points about the armour delineated which lend themselves to the supposition that the brass was executed some ten or more years later, viz. the absence of any hauberk; the development of the fan-shaped coudières; the position of the misericorde and the sword-belt, &c. The distinction probably belongs to the Ferrers brass.

The brass of Sir John de Leventhorpe, 1433, at Sawbridgeworth Church, Herts (Fig. 251), is interesting as showing the development of the lowermost tace into the subsequent tuilles of the Tabard Period. In this effigy the lame in question is divided into two tuilles which still have the same width, and partake of the nature of taces; each tuille is suspended by two buckles. This is one of the earliest representations of this feature in England.

Fig.250.—Sir John Lysle, 1407. Thruxton Church, Hants.Fig.251.—Sir John de Leventhorpe. 1433. Sawbridgeworth Church, Herts.

Fig.250.—Sir John Lysle, 1407. Thruxton Church, Hants.

Fig.251.—Sir John de Leventhorpe. 1433. Sawbridgeworth Church, Herts.

Fig.252.—Shields. (Harl. MS., 4379.)

The shields used in the Surcoatless Period were similar to those in the preceding, but manifest infinitely greater varieties. They were invariably small in size and notched for the lance, but as every knight apparently designed his own, it is obviously impossible to enumerate or illustrate them. They all, however, agreed in presenting a concave surface to the opponents lance, whereby it was prevented from glancing upwards or downwards and thus inflicting injury, while the general tendency was to deflect the lance-point to the left, whereby it touched neither horse nor rider. The examples here given are from one of the Harleian MSS., No. 4379 (Fig. 252), and may be taken as a general type of the knightly shield in this and also in the preceding period.

Fig.253.—Richard de Beauchamp, Earl of Warwick, early 15th century. (From the Warwick Roll.)Fig.254.—Billman, Richard II. (Roy. MS. 20, C. VII.)

Fig.253.—Richard de Beauchamp, Earl of Warwick, early 15th century. (From the Warwick Roll.)

Fig.254.—Billman, Richard II. (Roy. MS. 20, C. VII.)

Remembering that there was no arbitrary law regulating the military equipment and dress of the ordinary soldier at this period, it is somewhat difficult to deal decisively with the subject, but a few examples and some broad outlines may probably be sufficient to enable the reader to grasp a general idea of the subject.

The Man-at-armsin the middle of the fourteenth century was generally armed with the lance, sword, and mace, the martel-de-fer or a military pick at times supplanting the latter. The shield was heater-or heart-shaped and notched, but sometimes circular, and of various sizes. A hauberk or jacque reaching to the knees, and having sleeves to the elbow, constructed of any of the numerous kinds of jazeraint work, or of banded mail, covered his body; it was reinforced at the shoulders, elbows, and knees with roundels, caps, or plates, while two mammelières were in use to cover the chest and act more or less as breastplates. Greaves and vambraces of leather strengthened with splints of iron, with thick leather gauntlets and shoes, guarded the limbs, while a skull-cap with banded camail or a thick leather gorget depending, protected the head and neck. Either a gambeson or a leather tunic under the jacque completed the equipment.

Fig.255.—Cuir-bouilli headpiece. (Roy. MS. 20, C. VII.)

Fig.256.—Soldier,c.1400. (Roy. MS. 20, C. VII.)

Billman, Pikeman, or Foot Soldier.—The pikeman of the period was equipped with a more elaborate defence than is generally credited, and consequently his comparative immunity from hurt by the lethal weapons of the time goes far to explain the determined resistance made by the infantry. The very fact that there was no uniformity in his accoutrement rendered him a formidable foe to the knight, who naturally directed his lance to that portion of an enemy’s person possessing the least defensive equipment; but it required more than human divination in the excitement of a contest to discern the weak points in the equipment of men all armed in a different manner. The broad rule respecting the armour of the infantry in mediæval times was that the knightly defence of one period became the soldiers salvation in the succeeding period. At the same time many a contemporary piece of equipment was obtained from the field of battle and used to augment the personal defence. The figure (Fig. 254) (taken from the British Museum MS. Roy. 20, C. VII.) may be taken as a general type of the billman of the reigns of Edward III., Richard II., and possibly Henry IV. and V. Upon the head he wears a skull cap composed of two pieces of iron riveted together with reinforcing strips of metal; from this depends a camail of banded mail which is strengthened by a plate defending the cheeks, chin, and throat, in imitation of the bavière then coming into vogue with the knightly class. Possibly this piece was home-made, and the village blacksmith had a hand in its fabrication. The body is protected by a leathern jacque having roundels at the shoulders with crude brassarts, coudières, and vambraces, possibly of leather. A tegulated skirt of pieces of leather, horn, oriron plates reaches to the knees, which are defended by metal genouillières, from which depend grevières of metal or cuir-bouilli. Indications of cuissarts are apparent, and the legs are covered with chausses of banded mail in addition. It will thus be seen that the billman’s equipment for defence was but little inferior to that of the knight. No sword or mace is shown, but these were in common use. The fauchard he wields is nine feet in length, with cutting edges upon both sides, a sharp pike-point at the end, and a hook with which to dismount a horseman. A second example from the same MS. (Fig. 255) shows a head-covering of cuir-bouilli in the form of overlapping leaves or scales, while the camail is of soft pliable leather. In this cut the small badge is delineated upon the left breast that denoted the leader under whom the soldier fought. Another soldier with a circular shield and armed only with a sword, is taken from the MS. above named (Roy. 20, C. VII.); he wears a piece of tegulated defence, probably leather, over a leathern jerkin, while his sleeves appear to be of a stuffed and quilted nature, similar to a gambeson. He has demi-plate upon the legs and is furnished with a bascinet (Fig. 256). A soldier is also shown wearing the high bascinet so characteristic of the knight of the early Camail Period; it had doubtless formed part of some loot, and the wearer added tothe defence a large bavière which also partially served the function of a breastplate, while a tippet of banded mail covers the shoulders (Fig. 257). Some of the foot soldiers carried a small circular shield or buckler about 9 inches to 12 inches in diameter and furnished with a boss in the centre; the left hand would be able to grasp both it and the pike as well.

Fig.257.—Soldier with plate gorget,temp.Richard II. (Roy. MS. 20, C. VII.)

Fig.258.—Spearman,c.1400. (Roy. MS. 20, C. VII.)

Towards the end of the reign of Richard II. the fashion of wearing a houppelande over the armour came in vogue both for knights and common soldiery, thus preventing the armour from being seen, except the lower parts of the legs (seeFig. 258). With this incongruous habit appeared also the snout-faced or pig-faced visor of alarming proportions, serving as a visor, gorget, and pectoral combined. The annexed cut is taken from a group of combatants in Roy MS. 20, C. VII., who are all defended in the same ungainly manner. With the advent of the reign of King Henry IV. this visor became of less size and different shape, while reinforcements to the bascinet were added to compensate. InFig. 259, from Roy. MS. 15, D. III., a soldier is shown with bascinet and neck-guard affixed; to protect the throat an extra plate is used swinging upon pivots on either side of the helmet—a crude bavière. Another foot soldier isshown with a similar defence (Fig. 260), but his bascinet is globular at the top and furnished with a projecting neck-guard, in which we cannot fail to see the salade in its early stage. We may refer this to the reign of Henry V., as well as that shown inFig. 259. Another bascinet of the same period is given inFig. 262, where the small holes for fixing the lining are shown, and also those round the lower edge and opening for the face, for the camail. This bascinet still further suggests the salade, as does also the one in the British Museum (Fig. 263).

Fig.259. (Roy. MS. 15, D. III.)Fig.260. (Roy. MS. 15, D. III.)Fig.261.—Soldier, Richard II., gorget over camail. (Roy. MS. 20, C. VII.)

Fig.259. (Roy. MS. 15, D. III.)

Fig.260. (Roy. MS. 15, D. III.)

Fig.261.—Soldier, Richard II., gorget over camail. (Roy. MS. 20, C. VII.)

Fig.262.—Bascinet,temp.Henry V.Fig.263.—Bascinet from Brit. Mus.

Fig.262.—Bascinet,temp.Henry V.

Fig.263.—Bascinet from Brit. Mus.

Fig.264.—Quivers and scimitar. (Roy. MS. 14, E. IV.)

The Archer.—The equipment of the archer was essentially of a lighter nature than that of the billman. A pot-de-fer upon the head, with coif-de-mailles or camail; a brigandine or jacque of pourpointerie, covering at times a small plastron-de-fer; upon the left arm a bracer, otherwise legs and arms in cloth stockings and sleeves; a girdle with axe, sword, or scimitar depending therefrom; a quiver at the right hip with its burden of goose-or pigeon-feathered arrows, and the long yellow bow slung at the back in company with a small round target—such was the war dress of the mediæval bowman. At times a stake sharpened at both ends was carried to hinder a charge of cavalry, but this was generally improvised upon the spot. In Roy. MS. 14, E. IV., the quivers at this period are shown to be of an elongated bag form, and quite different to the late fifteenth-century style. A very favourite weapon with archers, judging by the number of men represented wearing it in all MSS. of the time, is the scimitar, which is invariably of the shape shown inFig. 264. The curious guard for the fingers, springing from the pommel, is very characteristic.

Fig.265.—Weapons from Roy. MS. 20, C. VII. Nos. (left to right)—7. Pole-axe (the voulge); 2. Pole-axe; 4. Pike; 1. Pike; 3. Pike; 5. Pole-axe (bardiche); 6. Fauchard (guisarme).

The weapons used by the billmen of this period are well shown in Roy. MS. 20, C. VII., and are reproduced inFig. 265. No. 1 is shown in use by a soldier whose left hand is guarded by the circular projection, which, together with the long point, was made of steel. The shaft of this formidable pike or partisan was about five feet in length, the point three feet, and it depended for its efficacy upon its armour-piercing qualities. Nos. 2, 5, 7 are the pole-axe with varying modifications, the total length, including shaft, being about eight feet; it was apparently a favourite weapon, and is many times represented, No. 5, the bardiche, however, being somewhat uncommon. Nos. 3 and 4 are simple forms of pikes, with a cross-guard in one case, and an armour-piercing spike in the other. No. 6 is the deadly fauchard, a variety of the guisarme, evolved originally from the scythe; it was a common weapon in theMiddle Ages, but inflicted such ghastly wounds with its razor-like edges back and front, that its use in Christian warfare was often deplored. Its total length was usually about eight feet.

Fig.266.—Combat with pole-axes between Earl of Warwick and Sir P. Malacat. (Cott. MS., Julius, E. IV.)

The antiquary, John Rouse, of Warwick, has left us some excellent drawings of military equipment of the fifteenth century, which are preserved in the Cottonian MS., Julius, E. IV. They illustrate the romantic adventures of Richard de Beauchamp, Earl of Warwick, and one of these spirited sketches is introduced here (Fig. 266). It represents a combat with pole-axes between the earl andSir Pandulf Malacat at Verona, when Sir Pandulf was badly wounded upon the left shoulder, and would probably have fared worse had not the combat been stopped. We gain an excellent idea from this sketch of the mode in which the gorget was adjusted, which is difficult to realise from a brass. The misericorde is suspended as in the later days of Richard II., and a central prolongation of the front taces is represented, which occurs upon several English brasses. The shape and character of the formidable weapons are well delineated in the sketch.

PLATE XIX*Armour of Philip III., made by Lucio Picinino of MilanA. F. Calvert

PLATE XIX*

Armour of Philip III., made by Lucio Picinino of Milan

A. F. Calvert

Fig.267.—Tabard, William Fynderne, 1444. Childrey Church, Berks.

Fig.268.—Tabard, Sir Ralph Shelton, 1423. Great Snoring Church, Norfolk.

The sources of information for this period are considerably enlarged when compared with those preceding it, as, in addition to MSS., missals, brasses, and monumental effigies we may add paintings by the old masters, crude woodcuts following upon the introduction of printing, and, what is of still greater value, actual examples of arms and armour in our public and private museums, churches, &c. The fifteenth century probably saw a greater output of armour than any other in English history: the stirring times in France under the Duke of Bedford and other leaders at the end of the Hundred Years’ War was followed almost immediately by the thirty years of intestine strife of the Wars of the Roses. Under the stress of these conditions armour continued to improve in defensive power until, in the reign of Richard III. and the earlier part of that of Henry VII., it attained to its maximum stage of efficiency in England. In the combat during this century between the forgers of weapons of offence and the armour with which to resist them we have the greatest struggle ever witnessed in this country; so invulnerable did the plate become by completeness of covering and dexterity in tempering that all the efforts of the bowyer, fletcher, weapon-forger, and gunsmith had to be enlisted to break down the solidarity of the defence, and it was not until the succeeding century that the victory could be fairly claimed for the attacking faction. The Tabard Period witnessed every device in armour that the wit of man could evolve, and it was produced under those circumstances which would best achieve the desired result, namely the stress of urgent need. The name by which this age is known, that of the Tabard Period, has been selected by reason of the tabard being practically the only distinguishing feature which did not change, and was fairly persistent throughout. It is also used in contradistinction to the preceding Surcoatless Period. The tabard was a surcoat which was generally long in the body (to mid-thigh), and had sleeves to the elbow in the earlier portion of its existence; but in the later period the sleeves were much shortened, and the tabard at times only reached to the waist. It was split upon both sides, and the front and back portions fastened together by points, drawn closely together or left wide apart to show the armour beneath; occasionally no points whatever were used, and the front and back hung loosely from the shoulders. It served as a protection against sun and rain, and also as a means of personal adornment, being generally emblazoned upon the body and also on the sleeves with the armorial bearings of the wearer. It was of silk or other material, sometimes padded so as to hang stiffly; in most examples it depends in folds. An early brass showing this feature is that of William Fynderne, 1444, at Childrey in Berkshire (Fig. 267), where the armorial bearings are depicted upon the body and sleeves, both of which are long. An early tabard is that shown upon the brass of Sir Ralph Shelton, 1423, in Great Snoring Church (Fig. 268), which fits tightly to the figure, and the tincture of the body of the tabard has apparently been attempted by the engraver. Another early example is that of John Wantele, 1424, at Amberley Church, Sussex, where the arms are shown upon the body (which reaches almost to the knees) but not on the sleeves. Later examples are those of Sir John Say, 1473, at Broxbourne, Herts, and Piers Gerard, 1492, Winwick, Lancs. In the Roy. MS. 18, E. V., is a very spirited drawing of Julius Cæsarcrossing the Rubicon, in which he is represented as wearing a tabard. A very elaborate example,c.1500, is on the brass in Ormskirk Church, Lancashire, commemorating a former member of the Scarisbrick family (Fig. 269). The figure in question wears sabbatons.

Fig.269.—Brass in the Scarisbrick Chapel of Ormskirk Church, co. Lancs., to a member of the Scarisbrick family of that name,c.1500.

Fig.270.—Bascinet of one of the Neville family, Brancepeth, Durham.Fig.271.—Bascinet and orle, Sir Humphrey Stafford, 1450.

Fig.270.—Bascinet of one of the Neville family, Brancepeth, Durham.

Fig.271.—Bascinet and orle, Sir Humphrey Stafford, 1450.

The Helmet.—During the earlier part of the Tabard Period, until about 1450, the helmet differed but slightly from those shown in the Surcoatless, the modifications being chiefly in the form of the apex and the addition of a close-fitting visor. In the example shown (Fig. 270) the visor was probably rapidly adjusted to the lower studs in time of danger, or the heaume could be worn. The shape of the apex should be noted, and this feature is also somewhat similar in the helmet of John, Duke of Somerset,a.d.1444. In those cases where the knight trusted to the bascinet only, the bavière is raised considerably to guard the face. This is well seen in the brass of Sir Humphrey Stafford, 1450 (Fig. 271), where the orle is a prominent feature. An example is given here of a brass of a later period exhibiting armour of an earlier date, an occurrence which at times causes confusion. Sir John de Harpedon’s brass (Fig. 272) is well known inWestminster Abbey, and dates from 1457; the armour is most unusually simple for that period, and could well be attributed to thirty years earlier, except in regard to the gauntlets. There are no less than eleven lames in the taces.

Fig.272.—The brass of Sir John de Harpedon.

Fig.273.—Chapelle-de-fer,c.1485.

About 1450 the Salade (Germ.schallern, fromschale, a shell, or Italiancelata) was introduced into England, and for a considerable time formed the headpiece of knights, men-at-arms, and archers. It rested entirely upon the head, and was not affixed in any way to the body armour. Its coolness was a great recommendation, as was also the facility with which the head could be moved in all directions. There appear to be two distinct head-pieces from which the salade could owe its development; the chapelle-de-fer is one, and it probably suggested the German shape. This was in use from the thirteenth to the fifteenth centuries, and consisted of a light iron headpiece with a flat broad brim turned down. In the earlier examples the brim projects equally all round, but later it is much flatter at the front than at the back, where it was drawn out to a point (seeFig. 273). The Italiancelatawas the second model from which the salade could trace its evolution; it was the helmet of barbute form referred to on p.173, and which was undoubtedly founded upon the Greek model. It gradually developed in the fifteenth century into the shape shown inFig. 274, losing its pointed apex and swelling outwards at the back of the neck. Upon their introduction into France, both German and Italian forms were classed under the name Salade. The salade in its primitive form was a head protection forged at first out of one piece of metal (Fig. 275andFig. 276) with a comb upon the crest and an occularium, which was made available by pulling down the front of the helmet until it rested level with the eyes. This was superseded by one having a movable visor which could be raised or loweredat pleasure, and generally when lowered was locked with a spring catch (Fig. 277). A few examples occur in which the long projection at the back is jointed after the form of the lobster’s tail, and at times the salade measured as much as sixteen or eighteen inches from front to back. An example weighing 5 lbs. is in Case 25 at the Tower of London, dating from 1450: it is of German make and still bright, though much pitted all over (Fig. 278). A very interesting example isFig. 279, in the Wallace Collection, dating from about 1460, which was probably used by a mounted archer. As in the Tower example, it is bright but pitted: the crown is without a ridge, but becomes combed at the tail; the form of the salade enables it to be thrown well back upon the head when not in use. The small holes round the visor were probably intended for the sewing in of a lining, and the pairs of holes at the sides show where the strong lining was affixed which supported the helmet itself. Salades of this shape are shown in contemporary paintings, those of Albert Dürer for example. The mentonnière was habitually used with the salade: it was a plate fastened by one, two, or three screws oralmayne (sliding) rivets to the upper part of the breastplate, and was moulded so as to cover the lower part of the face to the lips or nose and reach to the ears on both sides (seeFig. 280). In use the visor of the salade when lowered fell outside the mentonnière, thus effectually protecting the face of the wearer. A plate cheek-guard or bavière was worn at times, and this reinforcement is plainly seen in the salade, with crest, of the Duke Ludwig of Bavaria, 1449 (Fig. 281). A salade of German pattern with a very high crown is shown inFig. 282; the general typeof armour prevailing upon the Continent in 1450 is here presented, the laminated brassarts being a special feature. As a rule, however, a collar or standard of mail was deemed to be a sufficient protection under the mentonnière. An example of the mentonnière dating from about 1480 is No. 840 in the Wallace Collection; it has two plates, of which the upper one is held in position by a spring catch; it suggests the falling bufe of a later period.Fig. 283represents a salade of the end of the fifteenth century; it will be seen that a comb runs over the crown, and that a sliding neck-guard is used in place of a rigid tail. A magnificent example of Milanese workmanship is shown onPlate VII.*, p.60.

Fig.274.—Italian celata.Fig.275.—German salade,c.1440.

Fig.274.—Italian celata.

Fig.275.—German salade,c.1440.

Fig.276.—Early salade.Fig.277.—Salade from Rhodes,c.1470.

Fig.276.—Early salade.

Fig.277.—Salade from Rhodes,c.1470.

Fig.278.—Salade, 1450. (Tower of London.)Fig.279.—Salade,c.1460. (Wallace Collection.)Fig.280.—Mentonnière, in Whissonsett Church, Norfolk.

Fig.278.—Salade, 1450. (Tower of London.)

Fig.279.—Salade,c.1460. (Wallace Collection.)

Fig.280.—Mentonnière, in Whissonsett Church, Norfolk.

Fig.281.—Schallern, with Crest of Bavaria (Duke Ludwig of Bavaria, 1449).Fig.282.—German type of salade and armour, 1450.

Fig.281.—Schallern, with Crest of Bavaria (Duke Ludwig of Bavaria, 1449).

Fig.282.—German type of salade and armour, 1450.

Fig.283.—German schallern,c.1480.Fig.284.—Early Italian armet,c.1450.

Fig.283.—German schallern,c.1480.

Fig.284.—Early Italian armet,c.1450.

The Armet.—Towards the end of the Tabard Period the armet was introduced into England, and partially superseded the salade and other forms of head-protection. The origin of this helmet and the derivation of the name are equally involved in obscurity; but it probably first saw the light in Italy, and gradually spread through Germany into England. “Armet” may be derived from“elmetto” or “armetto,” little helm, or “heaumet,” the diminutive of “heaume.” The essential difference between the armet and all those head-pieces which antedated it was that, while the older styles had been put on by lowering them over the head and the weight had in nearly all cases been borne by the head, the armet opened out in its lower part upon hinges, and could thus be closed round the head and neck, while the weight was transferred to the gorget and thence to the shoulders. It was in all respects neater, lighter, and handier than either the salade or the bascinet, while providing a fine defensive form for both head and neck. The armets, like the bascinets, had in their earlier stages a camail attached by a row of vervelles (Fig. 284) and a reinforcing piece upon the forehead. The same pin and hinge arrangement peculiar to the bascinet is used for affixing the visor, which latter, by falling, secures the opening of the helmet in front, at the same time forming the occularium by leaving a space between its upper edge and the lower edge of the reinforcement covering the forehead. Under the hinges or pivots of the visor are theupper parts of the two chin-pieces, hinged to the crown, which overlap in front and are strapped together at the chin. At the back occurs a tailpiece from which projects a short stem to which is attached a flat disc, probably to protect the back of the helmet, which was its weakest part. An example in the Wallace Collection (Fig. 285), dating from 1470, has the stem remaining but not the roundel, while the holes for attaching the camail are well seen. The pivots for the visor are in the reinforcement in this case. Another armet from the same collection has the pointed visor and bavière in one plate, while the roundel is shown at the back (Fig. 286), and the latter example shows the camail superseded by the laminated gorget with which the armet articulated.Fig. 287also has the disc in position; it dates from 1480, is without any reinforcing piece upon the forehead, and the occularium is contained in the visor. No. 46 suit of armour in the Wallace Collection has an armet dating probably from 1490, with pointed visor and bavière in one piece; the neck portion is furnished with a hollow roping running round it, which fits upon and grips the upper lame of the gorget, which being perfectly circular, like the neck of the gorget, allows the head to be turned right and left. This was a feature of the close helmets of the succeeding century.

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