Chapter 10

Fig.285.—Armet,c.1470. (Wallace Collection.)Fig.286.—Armet, probably Italian,c.1480.Fig.287.—Armet,c.1480. (Wallace Collection.)Fig.288.—Cap-á-piesuit of Gothic armour,c.1470. (Wallace Collection.)Fig.289.—Breastplate,c.1490. (Tower of London.)Body Armour; the Breastplate.—The breastplate from approximately 1430 to 1450 remained of the same globular form which had characterised it in the Surcoatless Period, but after that date we often find it reinforced by another plate, called a demi-placcate, springing upwards from the waist, the upper part as a rule being moulded into a graceful system of cusps.In some cases, a second reinforcing plate is added over the first, but it is doubtful if these plates reached to the waist in any single case. By the system of introducing almayne rivets the breastplate could be given a certain amount of mobility, and adapt itself to the movements of the wearer. The goussets at the arm-holes were ridged or roped and sometimes turned back upon the breastplate. The backplates, also, about 1450, were made in several pieces, in order to obtain freedom of movement; the well-knowncap-à-piesuit (Fig. 316) in the Wallace Collection has no less than five pieces in the backplate. Towards the end of the century, the breastplate was reinforced with goussets of plate adapted to the movement of the arms by judiciously-placed rivets. This is shown inFig. 289; in the Tower Collection,c.1490 or 1500,in Case 48; it shows a roped border in the upper part, holes for affixing the lance-rest, one in the centre for the screw of the gorget or mentonnière, and an articulated lame of the taces at the lower part. The section is shown with it. The suit of armour, No. 10 in the Wallace Collection, has the breastplate fitted with plate goussets; it dates from 1470. A demi-placcate of one plate is well delineated inFig. 291from Roy. MS. 18, E. V., 1473, being a portion of the defence of “Goliath of Gath” in that manuscript.Fig.290.—Palette suspended from pauldron,c.1470. (Wallace Collection.)Fig.291.—Demi-placcate, &c. (Roy. MS. 18, E. V.)Arm Defences.—These were of great variety and, as the century progressed, of the most original and complicated description, giving to this period the most characteristic forms by which it can be identified. Soon after 1440, and perhaps before that time, the defences of the right and left arms in England began to be of different construction, similar to changes which had already become well advanced upon the Continent in the same direction. The right arm was encased in steel which, compared with other portions, was comparatively thin, light, and capable of the greatest flexibility and mobility; this was occasioned by the need of extreme quickness of sword-play in combat after the lance had been shivered inthe charge. Laminated epaulières and laminated brassarts were accordingly lavishly used upon the right arm as affording the maximum amount of movement, these being strengthened by a few extra defences of plate adapted so that they would not hinder the flexibility so obtained. A brass at Swaffham, 1470, illustrates the use of lames upon the right arm (Fig. 292). The left or bridle arm, on the contrary, was guarded by extra strong and thick plate defences and reinforcements of all descriptions, shapes, and sizes; in fact the general idea was to render the whole of the left side of the knight impenetrable to the weapons then in use. Probably this was occasioned by the partial or total disuse of the shield in warfare, as being an encumbrance whose disadvantages more than counterbalanced any possible benefits which might have been derived from it. It can be readily seen that in combat with an ordinary right-handed swordsman the left side of the body would be liable to receive more hurts, both in number and intensity, than the right, hence this extraordinary strengthening of the defences upon that side.Fig.292.—Brass at Swaffham illustrating use of lames on right arm, 1470.Fig.293.—Development of the coudière.Fig.294.—Development of palette.Fig.295.—Pauldron of Walter, Lord Hungerford, 1459. Salisbury Cathedral.Fig.296.—Laminated pauldron.(Cott. MS., Julius, E. IV.)Fig.297.—Pauldron, &c., Sir Miles Stapleton, 1466. Ingham Church, Norfolk.Pauldrons.—The defence known as the Pauldron was introduced in England about 1430, and may be looked upon as a development of the palette, which, becoming larger and larger, finally ended by covering the epaulières. This enlargement may be readily seen from the accompanyingFig. 294, where the palette is seen to have reached the shoulder. The right arm defences of Walter, Lord Hungerford, 1459, from his effigy in Salisbury Cathedral (Fig. 295), afford us an example of the pauldron in its early stage; it is plain and of small proportions, just sufficient to fit upon the lames beneath. The peculiar shape of the coudière with its flutings should be noticed. A pauldron consisting of long lames of plate is shown in Cott. MS., Julius, E. IV. (Fig. 296), and also on the Staunton brass; it, however, invariably consisted of a strong and rigid plate, which is well exemplified in the brass of Sir Miles Stapleton in Ingham Church, Norfolk, 1466 (Fig. 297), where the defence, beautifully ornamented by curves and cusps, is not only designed as a protection to the shoulder and upper arm but also to a certain extent for the neck, which is also encircled by a standard of interlinked chain mail. In this ridging for neck defence occurred the first idea of passe-gardes or pike-guards, an innovation which in different forms was in vogue during the latter part of the fifteenth and nearly the whole of the sixteenth centuries. It is still further indicated in the brass to Thomas Colt, Armiger, 1475 (Fig. 298), at Roydon, Essex, where a serrated ridge is shown traversing a large part of the pauldron with the evident object of arresting a sword-cut. The pauldron is of large dimensions, and projects well over the breastplate. William Yelverton, 1481, whose brass is shown at Rougham in Norfolk, has the passe-garde well developed and rising in a high ridge on the left side of the neck; the pauldron is of fair dimensions, but strange to note does not cover the left gousset (Fig. 299). It is probable that the wearer bore a shield. The pauldron and its passe-garde or pike-guard is well shown upon a suit of Gothic armour in the Wallace Collection, dating from about 1490 (Fig. 300); here the great difference in the sizes of the two pauldrons is shown, the small one upon the right shoulder necessitating a palette in the form of a roundel being introduced to guard the gousset of the right arm.Fig.298.—Pauldron, Thomas Colt, 1475. Roydon, Essex.Fig.299.—Pauldron, William Yelverton, 1481. Rougham, Norfolk.Fig.300.—Pauldrons, &c., 1490. (Wallace Collection.)Fig.301.—Coudière, &c., Thomas Playters, 1479.The Coudières.—Until about 1450 the coudières were of normal sizes and proportions, but when the shield was discarded and the left side of the knight was strengthened, the left coudière became of supreme importance in the warding off of a blow, and hence underwent changes which in some cases can only be termed monstrous and extravagant. Probably the brass of Sir Robert Staunton, 1458, in Castle Donington Church, Leicestershire, furnishes the maximum example of immensity in coudières, though the peculiarity of having both of the same size and pattern should not be overlooked. Another and later brass, that of Thomas Playters, 1479, in Sollerley Church, shows a coudière of a peculiar shape and of great size, reproduced inFig. 301. A secondary defence was introduced about the middle of the century to protect the inside bend of the left arm, called the garde-de-bras, well seen upon the brass of Sir John Peryent the younger, 1450, at Digswell, Herts (Fig. 302); in the accompanyingFig. 303is shown an example of a left coudière from the Wallace Collection (No. 46), dating from about 1490.Fig.302.—The brass of Sir John Peryent the younger.The Taces, Tuilles, and Tuillettes.—The taces introduced into armour during the Surcoatless Period reached approximately to the mid-thigh of the wearer, and during that period short lames were attached in front at times, making the skirt of plate even longer. As the Tabard Period progressed, however, the taces showed a tendency to decrease in number, thereby shortening the skirt of plate and permitting more of the thigh to be uncovered. In order to remedy this,separate plates, rounded so as to encircle the limb to a certain extent, were affixed to the lowermost tace by straps in front of each thigh, and as the taces contracted the “tuilles,” as they were termed, grew longer and broader. An excellent example is that of Henry Parice in Hildersham Church, Cambridgeshire, 1465 (Fig. 304), who has tuilles, genouillières, and elbow-pieces of extravagant size; the tuilles are here shown suspended by straps to the lowermost of three taces. Incidentally the skirt of the gambeson is disclosed in this figure, and apparently the edge of some defence of mail worn under the taces. A precisely similar example occurs at Roydon, Essex, upon the brass of Robert Colt, 1475. Towards the end of the century the taces had so far contracted that they reached only to the hips, as shown in the brass of Sir Anthony de Grey, 1480, in St. Albans Abbey Church (Fig. 326), but another mode was sometimes adopted, as seen in the brass of Sir Robert Harcourt at Stanton Harcourt, Oxfordshire (Fig. 305), where the tuille was not attached to the lowest tace but to a higher one, the intermediate space being filled up with short lames and mail. Other smaller plates were at times added to protect the outer part of the thighs, called “tuillettes.” If the front tuilles are themselves composed of several plates, or jointed, then the term “tuillette” is also applied tothem.Fig.303.—Garde-de-bras,c.1490. (Wallace Collection.)Fig.304.—Tuilles, &c., Henry Parice, 1465. Hildersham Church, Cambs.Fig.305.—Sir Robert Harcourt,c.1472. Stanton Harcourt, Oxon.Leg Defences.—These did not undergo such decided transformations as the remaining portions of the armour, but a few innovations deserve attention. Until 1450 there was no decided change from the style prevailing in the Surcoatless Period, with perhaps the exception that the reinforcing plate of the genouillière protecting the grevière had a tendency to lengthen, but was still cut off square. After the above date we find that it is generally pointed in the lower part and laminated, while reinforcing plates begin to appear above the genouillière protecting the thigh and often overlapping each other. An unusual reinforcement for the genouillière is shown inFig. 306; it is of chain mail and occurs upon a suit in the Wallace Collection dated 1470. The actual cap covering the knee did not undergo much change, except that it was often prominent and ridged, but one innovation, and a marked one, is exhibited upon a few brasses (in the Grey brass, St. Albans, for example), where the usual outer guard is prolonged round the back of the knee in orderto protect the gousset generally shown there. A peculiar variety of genouillière is delineated inFig. 307, where a spike is seen projecting from the guard, and a considerable number of lames and reinforcements are shown. It is difficult to see the possible use of this spike, and one can only suppose that it was so placed to annoy the horse of an antagonist when at close quarters. It is from Roy. MS. 18, E. IV. The sollerets remain pointed, and were often of extravagant length, but with less lames as a rule than in the early part of the century; towards the end, about 1490, they disappeared and became extinct, the broad-toed “sabbatons” taking their place. Those of Piers Gerard, 1492, Winwick, Lancashire, are early examples of this fashion (Fig. 308).Fig.306.—Reinforcement to genouillière,c.1470 (Wallace Collection.)Fig.307.—Spiked genouillière. (Roy. MS. 18, E. IV.)Fig.308.—Sabbaton of Piers Gerard, 1492. Winwick, Lancs.PLATE XX*Armour of King Sebastian (Backplate)A. F. CalvertFig.309.—Lance-rest, 1480. (Wallace Collection.)Until about the year 1460 the sword was worn at the left side suspended by a narrow band passing over the right hip, as in the Surcoatless Period, but after the above date it appears upon brasses and monumental effigies in front of the body, with the point slightly inclined tothe left as a rule, but sometimes hanging perpendicularly. It has a singularly short and ill-proportioned hilt, with a much-swollen grip and a pommel pear-shaped or circular, while the quillons are straight, with a slight droop at the ends towards the blade. The lance-rest was added in the latter half of the century, and is shown projecting from the breastplate in many brasses. Upon some existing suits of the period and later the rest is capable of being folded up when not in use, and kept in place in both positions by a spring. The lance-rest shown inFig. 309dates from 1480, and has a strut or support beneath it to aid in bearing the weight of the lance.Fig.310.—German tilting armour, 1480, from the Collection in the Museum at Vienna.Tilting Armour.—From the very earliest times since man bore arms he has engaged in friendly contest with others, not only as a means of recreation and engendering mutual respect, but it was readily recognised that the only way to obtain skill in deadly combat was to constantly practise the art of war in the time of peace. It was also natural and proper that these friendly combats should be governed by rules and regulations whereby the minimum of risk should be run, and so avoid the possibility of turning a manly pastime from a source of enjoyment into a combat of deadly earnestness. Although history records that the latter result really occurred at times, it was the exception that proved the rule, and tilting was part and parcel of a knight’s everyday life, and the glories of the tournament the hoped-for goal. During the early part of the Middle Ages single encounters, and also the mêlée, were fought in the usual harness which the knight was in the habitof wearing in battle, and no other precautions were taken excepting the use of blunted spears and restricting the use of the sword to the edge only. As time advanced, however, and armour became heavier and more cumbersome, the being hurled out of the saddle by a dexterous thrust of an opponent’s lance was a matter of moment, seriously endangering life and limb, whereas it had formerly been deemed comparatively trivial when the defences were of mail or textile fabrics. Hence as time progressed it became necessary to have special armour for the tilt, or to add such extra defences to the fighting armour that the increased weight promised security in the saddle, and the multiplicity of plates between himself and the weapons of his opponent practically guaranteed immunity from harm. This idea, once established, eventually led to the result that a knight armed for the joust could not mount to the saddle, but had prominent portions of this armour fitted when mounted. He became an apparently impregnable tower of steel, immovably fixed in a huge saddle. The student of armour must carefully discriminate between these tilting suits and actual war harness; the former were never used upon the field of battle, although at times we know that certain of the tilt defences were borrowed in order to reinforce the usual harness. The fifteenth century witnessed the inception and almost the culmination of the idea, and a few of the tilting suits of the latter part of that era are still extant.Fig. 310represents the upper portion of a suit of tilting armour from the collection in the Museum in Vienna; it dates from 1480, and is eminently typical of the period. The half-suit, No. 21 (Fig. 418) in the Wallace Collection, is very similarto the suit illustrated. The great tilting heaume is composed of three plates of varying thickness, ranging from nearly half an inch in the principal portions of the front to an eighth of an inch in the back. A comb, convex in section, runs down the centre of the crown, and radiating flutings are seen to ornament the back. The neck of the heaume is firmly fixed to the backplate, and three screws serve the same purpose in front for the breastplate. The occularium, formed by the aperture between the crown plate and the front, appears somewhat large when seen in this position, but remembering that the lance is held considerably lower than the heaume it is possible that an opening half an inch or even less would be presented to it. It was quite possible to have comparative freedom of movement for the head inside the heaume, which was invariably furnished with a quilted lining.PLATE XXI*War Armour, early Seventeenth Century, Milanese makeArmour of Prince Philip II., German make, 1549A. F. CalvertFig.311.—Queue. (Wallace Collection.)Fig.312.—Queue, vamplate, and lance. (Tower of London.)Fig.313.—Polder mitten. (Tower of London.)Fig.314.—Garde-de-bras. (Wallace Collection.)The specimen in the Wallace Collection weighs twenty pounds. The breastplate is globular in form, and flattened upon the right side to allow of the queue (Fig. 311) being affixed; this singular addition consists of a bar of steel rectangular in section and screwed firmly into the breastplate, bearing at the rear extremity a turned down hook which resisted the upward pressure of the butt of the lance. The front portion of the queue has another hook turned upwards, in which the lance rested, and behind which it was gripped by the hand. This hook was omitted when the lance-rest was separate and affixed to the right side of the breastplate, as seen in the figure, where it appears to be forged in one pieceand secured by two screws. An excellent example demonstrating in a practical manner the use of the queue is exhibited in the Tower Collection, where the lance is seen in position, and a large vamplate of curious design is affixed for the protection of the hand and arm (seeFig. 312). In order to admit of the free passage of the lance the large palette protecting the right armpit is slightly hollowed at its lowest part; the Wallace suit has a companion palette protecting the left arm. Upon the shoulders are pauldrons of two plates, decorated with radiating fluting, and upon these in the Wallace suit are two upright iron pins or projections to which were attached the flowing ends of the lambrequin, contoise, or mantling, depending from the crest. In the example from Vienna eyelets occur upon the pauldrons for the same purpose. The brassarts are laminated and overlap each other downwards. Upon the right arm appears the Polder mitten (a corruption ofépaule de mouton, so named from its shape), an additional reinforcing piece which is screwed to the vambrace and protects a large portion of the arm. It has fine flutings radiating from the bend. No gauntlet is seen, the vamplate generally affording a sufficient protection for the hand. A similar reinforcement for the right arm is upon the Wallace suit, which differs only in a few details, whilst a very fine example of this reinforcement, but dating from a later period, is preserved in the Tower (No. 371, Case 25) (Fig. 313), which exhibits excellent workmanship. The elbow-joint of the left arm is protected by agarde-de-brassimilar in form to that upon the right arm; this is riveted to a manifere (ormain-de-fer) of one plate protecting the bridle hand, and decorated withflutings radiating from the wrist. The protection for the left arm in the Wallace suit is represented inFig. 314; it is a large and finely fluted piece secured to the vamplate by three screws. A small oak shield covered with leather and painted is secured by a guige passing through two holes in the left upper part of the breastplate; it is not connected in any way with the arm, but simply hangs in position. This is the Stechtarsche. InFig. 310, no armour is shown below the waist, but the Wallace suit is furnished with taces of four plates, to the lowest of which are fixed the tuilles; while the breastplate is reinforced by a placcate. Judging from the deep grooves and indentations upon the heaume and palettes this suit has been donned at times in the combatà outrance, when the war spear was employed, as the lance-head or coronal customarily used in the Joustes of Peace would not effect such damage. The Joustes in question were conducted upon the original methods, namely, in the open lists or field and without any obstruction between the combatants; the system of running with a barrier between the horses was termed the Italian course, and was not used generally in Europe until the sixteenth century. This Italian course is known asÜber die Pallia(over the barriers), orWelsches Gestech, in contradistinction to the open course orDas Deutsche Stechen. The Wallace suit, including the heaume, weighs 96 lbs., and bears the Augsburg guild mark. A few extra tilting pieces which cameinto vogue upon the Continent in this period will be dealt with in a subsequent chapter.A fine suit of Gothic armour to which reference has been previously made is in the Wallace Collection (Fig. 288) which dates from 1470. The salade is of fine covering form and is fitted with a lifting visor; the mentonnière has one plate which falls if required. The breastplate is reinforced with a large placcate and has laminated goussets protected by fluted roundels. The taces are of three plates, to which the tuillettes (so called because they consist of more than one plate) are suspended. Espalier pauldrons of very fine workmanship protect the shoulders and upper arms; the coudières are peculiar to the period, while mitten gauntlets with long cuffs and demi-vambraces are also used. Demi-cuissarts of three plates have the genouillières fixed to them, while the jambarts are complete. The sollerets and a few other parts of the suit are restorations. The chain-mail reinforcements to the jambarts are of rare occurrence.Fig.315.—Gothic armour from the Tower of LondonA suit of armour in the Tower of London deserves special mention by reason of its being the oldestcap-à-piesuit of plate in the collection. It is shown inFig. 315, and probably dates from the middle of the fifteenth century, having practically no decorations of any importance. It is furnished with a visorless salade having a long tailpiece, and a gorget with a roped border which is probably of a later date. The epaulières consist of five laminated plates; the coudières are small, while demi-brassarts and complete vambraces cover the upper and lower arms respectively. The gauntlets are of overlapping plates with large cuffs. The breastplate has twodemi-placcates reinforcing it, and the backplate is of three pieces. The taces are three in number, to which tuilles of one plate are affixed. Demi-cuissarts, plain small genouillières with fan-shaped guards, and grevières of complete plate (probably recent) protect the lower limbs. There are no sollerets. The figure is equipped with a pole-axe of an original pattern, the shaft being partially sheathed in iron. Another suit, No. 26, probably dates from the last years of the fifteenth century, as it is furnished with a chain-mail skirt. The breastplate has a demi-placcate strengthening it; the gauntlets are very elaborate with fine gadlyngs and cuffs (probably the cuffs only are original); the cuissarts have four lames upon the upper parts, while the sollerets are of beautiful construction but recent workmanship. The backplate is of two plates, and a garde-de-rein is affixed below. The suit has been much restored.PLATE XXII*Half-suit, Pamplona Armour, Philip III.A. F. CalvertThe finest example of complete war harness for man and horse to be seen in London, and probably in England, of the very early period of 1460 is that which occupies such a prominent position in the Wallace Collection (Fig. 316). It was formerly in the famous collection of the Count de Nieuwerkerke, who purchased it from M. E. Juste, of Paris, for £1200, but probably if it came under the hammer now it would bring in four to six times that sum. As one might expect, it has had to be made up in a few parts to its present complete condition, but nothing whatever has been done to the armour for the lower limbs, which is original and well preserved. This is the more to be wondered at inasmuch as those are the parts more liable to suffer injury and need replacement than any others. The salade is of fine form and furnished with a visor, the occularium being formed between the upper part of the visor and the lower edge of the crown-piece. The mentonnière is attached by a screw to the breastplate, and is in two parts, the upper one falling if required, similar to the buffe of a later period, while a demi-placcate is affixed by an almayne rivet to reinforce the breastplate. The backplate is in five plates, all riveted in such a manner as to afford the maximum of movement for the back. A garde-de-rein of four plates is affixed below. The left coudière is of a graceful form and large proportions; the right differs in pattern, and has a garde-de-bras riveted to the vambrace protecting the inner bend of the arm. The cuissarts, composed of a number of plates, are of a most ingenious design, whereby tuilles are rendered superfluous. But perhaps the chief point of interest is centred in the sollerets, which have extreme lengths of pointed toe-caps; to these are attached the spurs, the necks of which are ten inches in length. At a period when it was necessary to cut the straps of sollerets when fighting on foot, and so remove the projecting point as to enable the knight to walk, it is curious to find in this suit that no provision is made for such a contingency, and that the long, pointed toe is riveted on. The genouillières are of latten, and below them deep pointed plates extend, to which are affixed the grevières, which fasten by spring catches on the inside. The whole of the armour is of a most graceful form, and the eye, accustomed to mediæval representations of contemporary equipment, dwells with delight upon this beautiful example of art from the Middle Ages. The use of latten as a means of adornment for the edges of various plates gives a rich contrast to the dull grey of the steel. Another fine suit ofcap-à-piearmour dating from the fifteenth century, in the Wallace Collection, is No. 46, which may be of German origin, and dates from about 1490. The head is protected by an armet of very fine proportions, opening down the centre of the chin-piece, and having a bavière and visor in a single plate. The breastplate is very globose, and is an example of the mediæval fashion of engraving mottoes, texts, invocations to the saints, &c., upon armour, as it bears a prominent inscription. It is furnished with sabbatons, and partakes in many characteristics of the nature of armour of the succeeding century.Fig.316.—Equestrian figure. (Wallace Collection.)Fig.317.—Thomas de St. Quintin, 1445. Harpham Church, Yorks.The second half of the fifteenth century saw armour not only in its highest development, but also of the most beautiful form, for nothing can exceed the graceful lines and excellence of workmanship characterising the Gothic style, as it is usually called. It was made to fit thehuman form and to adapt itself to the movements of the wearer. One of the most valuable relics we possess, illustrating its features, is the absolutely unique effigy of Richard Beauchamp, Earl of Warwick, in the Beauchamp Chapel, St. Mary’s Church, Warwick,temp.1454 (the earl died in 1439). It is of latten, gilded, and in perfect preservation: every feature, turn, and curve of the original copy is faithfully reproduced not only upon the front part or upper surface, but also upon the back; it was turned over some time since in order to be copied, and was found to be as carefully and accurately finished there as in the parts usually visible. Every detail is represented except the mentonnière, which is usually absent in effigies, though the catch for its attachment is shown. The points calling for special notice are the passe-guards or pike-guards upon the pauldrons which constitute a very early example of this adjunct, and also the presence of two large tuilles and two smaller tuillettes. The coudières are large and of the beautiful butterfly pattern, covering the inner bend of the arm; they are both equal in size and of the same pattern. Although the work was executed by an Englishman, William Austin, the armour is undoubtedly of Milanese manufacture, and may be ascribed to the Missaglias. An early example, foreshadowing the changes which occurred in defensive armour in the second half of the fifteenth century, is that of Thomas de St. Quintin, 1445, in Harpham Church, Yorkshire (Fig. 317). The figure is represented in pointed bascinet and mentonnière, beneath which the laminated epaulières are partly visible. These are almost covered by two palettes of singularly large size, that upon the left being thegreater; the reinforcement to the breastplate appears below. Upon the right coudière is an additional plate termed the garde-de-bras, and another of larger proportions and different form covers the left. The breastplate is of the short form, and necessitates the addition of six taces, to which are appended the tuilles. The figure shows the sword and misericorde being worn as in the Surcoatless Period. The effigy of Sir Richard Vernon, 1452, at Tong Church, Shropshire, is an excellent example of mediæval Gothic armour, and as portrayed in “Shaw’s Dresses and Decorations” is simply magnificent. Ourfrontispieceis adapted from the illustration. The orle surrounding the bascinet is gorgeous with chased work and pearls; the head rests upon a ponderous heaume, shaped for the shoulders, and bearing crest and mantling. The mentonnière is here in place: the breastplate is reinforced by a demi-placcate, and there are eight lames of taces with short tuilles. The genouillières have only a lower reinforcement, and the sollerets are comparatively short. A very late example of the hip-belt is shown, from which the misericorde is suspended, the sword-belt being quite distinct. The pauldrons are dissimilar,the right being the smaller and hollowed for the lance; while the upper parts of both are fluted. The coudières are distinctly beautiful, with radiating flutings upon the butterfly shape, which is folded inwards over the goussets.Fig.318.—Walter Green, 1450. Hayes, Middlesex.Fig.319.—John Gaynesford, 1460. Crowhurst Church, Surrey.Of the same date as the Beauchamp effigy is the well-known brass of John Daundelyon at Margate, 1455, whose breastplate is of the short character, as shown in the effigy; the bascinet is very pointed at the apex, and the mentonnière appears of singularly graceful form. The palettes are large and dissimilar, the left covering a considerable portion of the breastplate; upon the left arm is a circular garde-de-bras attached to the coudière, while an extremely large coudière is shown upon the left arm which may be regarded as a second garde-de-bras: the gauntlets are characterised by long pointed cuffs. Walter Green, 1450, whose brass occurs at Hayes, Middlesex, is represented without any bascinet, but with the head resting on a visored tilting helm (Fig. 318). The epaulières consist of a number of lames which extend upwards to the neck, where they are confined by a band, and over these are two symmetrical pauldrons of plain pattern. His armour bears a remarkable resemblance to that of John Gaynesford, 1460, in Crowhurst Church, Surrey, even to the plain gauntlets of four plates covering the hands. In both examples the taces are numerous and worked into broad escallops, tuilles being omitted (Fig. 319). An early example of the garde-de-bras is that represented upon the memorial effigy of Sir John Verney, Albury, 1452, where a small garde is attached to the coudière of the right arm and an enlarged one of peculiar shape to the left (Fig. 320). Upon the same effigy also occurs a complicated genouillière, which, fitting closely to the knee, is provided with two reinforcements above and below, the extreme plates being worked into highly ornamental forms (Fig. 321). A coudière of large size and graceful form is shown upon the brass of Henry Parice, 1464, at Hildersham, Cambridge, where arming points are seen attaching it to the brassart and vambrace: it is serrated in the upper extension, and the same decoration is repeated upon the pike-guard of the pauldron. In this figure the lance-rest is shown affixed to the breastplate (Fig. 322). Upon the same brass there is an example of extravagant tuilles attached to the lowest of three taces by straps, while the rare occurrence of the skirt of the haqueton with the edge of a defence of mail (possibly a hauberk) is shown, another instance being that at Roydon, Essex, upon the brass of Robert Colt, 1475. Sir Robert Staunton’s brass, 1458, in Castle Donington Church, Leicestershire (Fig. 323), affords us the best example of extravagant coudières, and is also remarkable for showing the salade, which is of extreme rarity upon brassesand effigies. The latter is represented very wide in form, with a falling visor having the occularium in it, and guided by a prolongation which apparently runs backwards and forwards upon a hidden comb. The gorget is of plate, over which the laminated epaulières are shown, apparently meeting over the chest: other details of the arms are hidden by the enormous coudières, which, strange to say, are of similar size and form. They are cusped and fluted in the upper parts. Upon viewing these arm defences the reason may readily be perceived why the knights deemed the shield superfluous. A demi-placcate is added to the breastplate. The armour shown upon the brass of Sir Robert del Bothe, 1460, in Wilmslow Church, Cheshire (Fig. 324), is characterised by excessive singularity of contour, suggesting an origin in one of the northern continental countries. No headpieceis shown, but the knight probably wore the salade: a mentonnière of several plates covers the upper part of the breastplate, which apparently is not reinforced. The massive pauldrons are almost similar in outline, and each is provided with a projecting ridge upon the shoulder in addition to a low pike-guard. The chain mail gousset is very apparent where the pauldron has been cut away to permit of the lance being held. The coudières are strange, almost grotesque, in form. The right arm in wielding the sword, mace, and lance, would be almost always in an extended position, hence the small latitude allowed in the coudière for bending it: the left, or bridle arm, would necessarily be bent more. The awkward position of the arms may be explained by stating that on the brass the knight is holding the right hand of his lady with his own. The long form of breastplate necessitates only three taces, which are escalloped, and two large tuilles, vieing in size with those of Henry Parice, are appended. The genouillières are remarkable for the excessive development of the guard-plate protecting the gousset at the back of the knees; this guard is seen upon many effigies but few brasses, and where it occurs in the latter might easily be overlooked—see the brass of Sir Anthony de Grey for example. Upon the brass of Sir Thomas Grene in Grene’s Norton Church, Northamptonshire (Fig. 325), the knee-guards are, if anything, larger than those upon the Bothe brass, while Henry Green, in Luffwick Church, Northamptonshire, 1467, who wears a tabard, has similar guards. Sir Robert del Bothe is among the first, or is the first, to exemplify the wearingof the sword in front of the body sloping from right to left: this fashion was introduced about 1460, and is one of the clues used in identifying the chronology of a brass.

Fig.285.—Armet,c.1470. (Wallace Collection.)Fig.286.—Armet, probably Italian,c.1480.Fig.287.—Armet,c.1480. (Wallace Collection.)

Fig.285.—Armet,c.1470. (Wallace Collection.)

Fig.286.—Armet, probably Italian,c.1480.

Fig.287.—Armet,c.1480. (Wallace Collection.)

Fig.288.—Cap-á-piesuit of Gothic armour,c.1470. (Wallace Collection.)

Fig.289.—Breastplate,c.1490. (Tower of London.)

Body Armour; the Breastplate.—The breastplate from approximately 1430 to 1450 remained of the same globular form which had characterised it in the Surcoatless Period, but after that date we often find it reinforced by another plate, called a demi-placcate, springing upwards from the waist, the upper part as a rule being moulded into a graceful system of cusps.In some cases, a second reinforcing plate is added over the first, but it is doubtful if these plates reached to the waist in any single case. By the system of introducing almayne rivets the breastplate could be given a certain amount of mobility, and adapt itself to the movements of the wearer. The goussets at the arm-holes were ridged or roped and sometimes turned back upon the breastplate. The backplates, also, about 1450, were made in several pieces, in order to obtain freedom of movement; the well-knowncap-à-piesuit (Fig. 316) in the Wallace Collection has no less than five pieces in the backplate. Towards the end of the century, the breastplate was reinforced with goussets of plate adapted to the movement of the arms by judiciously-placed rivets. This is shown inFig. 289; in the Tower Collection,c.1490 or 1500,in Case 48; it shows a roped border in the upper part, holes for affixing the lance-rest, one in the centre for the screw of the gorget or mentonnière, and an articulated lame of the taces at the lower part. The section is shown with it. The suit of armour, No. 10 in the Wallace Collection, has the breastplate fitted with plate goussets; it dates from 1470. A demi-placcate of one plate is well delineated inFig. 291from Roy. MS. 18, E. V., 1473, being a portion of the defence of “Goliath of Gath” in that manuscript.

Fig.290.—Palette suspended from pauldron,c.1470. (Wallace Collection.)

Fig.291.—Demi-placcate, &c. (Roy. MS. 18, E. V.)

Arm Defences.—These were of great variety and, as the century progressed, of the most original and complicated description, giving to this period the most characteristic forms by which it can be identified. Soon after 1440, and perhaps before that time, the defences of the right and left arms in England began to be of different construction, similar to changes which had already become well advanced upon the Continent in the same direction. The right arm was encased in steel which, compared with other portions, was comparatively thin, light, and capable of the greatest flexibility and mobility; this was occasioned by the need of extreme quickness of sword-play in combat after the lance had been shivered inthe charge. Laminated epaulières and laminated brassarts were accordingly lavishly used upon the right arm as affording the maximum amount of movement, these being strengthened by a few extra defences of plate adapted so that they would not hinder the flexibility so obtained. A brass at Swaffham, 1470, illustrates the use of lames upon the right arm (Fig. 292). The left or bridle arm, on the contrary, was guarded by extra strong and thick plate defences and reinforcements of all descriptions, shapes, and sizes; in fact the general idea was to render the whole of the left side of the knight impenetrable to the weapons then in use. Probably this was occasioned by the partial or total disuse of the shield in warfare, as being an encumbrance whose disadvantages more than counterbalanced any possible benefits which might have been derived from it. It can be readily seen that in combat with an ordinary right-handed swordsman the left side of the body would be liable to receive more hurts, both in number and intensity, than the right, hence this extraordinary strengthening of the defences upon that side.

Fig.292.—Brass at Swaffham illustrating use of lames on right arm, 1470.Fig.293.—Development of the coudière.Fig.294.—Development of palette.

Fig.292.—Brass at Swaffham illustrating use of lames on right arm, 1470.

Fig.293.—Development of the coudière.

Fig.294.—Development of palette.

Fig.295.—Pauldron of Walter, Lord Hungerford, 1459. Salisbury Cathedral.Fig.296.—Laminated pauldron.(Cott. MS., Julius, E. IV.)

Fig.295.—Pauldron of Walter, Lord Hungerford, 1459. Salisbury Cathedral.

Fig.296.—Laminated pauldron.(Cott. MS., Julius, E. IV.)

Fig.297.—Pauldron, &c., Sir Miles Stapleton, 1466. Ingham Church, Norfolk.

Pauldrons.—The defence known as the Pauldron was introduced in England about 1430, and may be looked upon as a development of the palette, which, becoming larger and larger, finally ended by covering the epaulières. This enlargement may be readily seen from the accompanyingFig. 294, where the palette is seen to have reached the shoulder. The right arm defences of Walter, Lord Hungerford, 1459, from his effigy in Salisbury Cathedral (Fig. 295), afford us an example of the pauldron in its early stage; it is plain and of small proportions, just sufficient to fit upon the lames beneath. The peculiar shape of the coudière with its flutings should be noticed. A pauldron consisting of long lames of plate is shown in Cott. MS., Julius, E. IV. (Fig. 296), and also on the Staunton brass; it, however, invariably consisted of a strong and rigid plate, which is well exemplified in the brass of Sir Miles Stapleton in Ingham Church, Norfolk, 1466 (Fig. 297), where the defence, beautifully ornamented by curves and cusps, is not only designed as a protection to the shoulder and upper arm but also to a certain extent for the neck, which is also encircled by a standard of interlinked chain mail. In this ridging for neck defence occurred the first idea of passe-gardes or pike-guards, an innovation which in different forms was in vogue during the latter part of the fifteenth and nearly the whole of the sixteenth centuries. It is still further indicated in the brass to Thomas Colt, Armiger, 1475 (Fig. 298), at Roydon, Essex, where a serrated ridge is shown traversing a large part of the pauldron with the evident object of arresting a sword-cut. The pauldron is of large dimensions, and projects well over the breastplate. William Yelverton, 1481, whose brass is shown at Rougham in Norfolk, has the passe-garde well developed and rising in a high ridge on the left side of the neck; the pauldron is of fair dimensions, but strange to note does not cover the left gousset (Fig. 299). It is probable that the wearer bore a shield. The pauldron and its passe-garde or pike-guard is well shown upon a suit of Gothic armour in the Wallace Collection, dating from about 1490 (Fig. 300); here the great difference in the sizes of the two pauldrons is shown, the small one upon the right shoulder necessitating a palette in the form of a roundel being introduced to guard the gousset of the right arm.

Fig.298.—Pauldron, Thomas Colt, 1475. Roydon, Essex.Fig.299.—Pauldron, William Yelverton, 1481. Rougham, Norfolk.Fig.300.—Pauldrons, &c., 1490. (Wallace Collection.)

Fig.298.—Pauldron, Thomas Colt, 1475. Roydon, Essex.

Fig.299.—Pauldron, William Yelverton, 1481. Rougham, Norfolk.

Fig.300.—Pauldrons, &c., 1490. (Wallace Collection.)

Fig.301.—Coudière, &c., Thomas Playters, 1479.

The Coudières.—Until about 1450 the coudières were of normal sizes and proportions, but when the shield was discarded and the left side of the knight was strengthened, the left coudière became of supreme importance in the warding off of a blow, and hence underwent changes which in some cases can only be termed monstrous and extravagant. Probably the brass of Sir Robert Staunton, 1458, in Castle Donington Church, Leicestershire, furnishes the maximum example of immensity in coudières, though the peculiarity of having both of the same size and pattern should not be overlooked. Another and later brass, that of Thomas Playters, 1479, in Sollerley Church, shows a coudière of a peculiar shape and of great size, reproduced inFig. 301. A secondary defence was introduced about the middle of the century to protect the inside bend of the left arm, called the garde-de-bras, well seen upon the brass of Sir John Peryent the younger, 1450, at Digswell, Herts (Fig. 302); in the accompanyingFig. 303is shown an example of a left coudière from the Wallace Collection (No. 46), dating from about 1490.

Fig.302.—The brass of Sir John Peryent the younger.

The Taces, Tuilles, and Tuillettes.—The taces introduced into armour during the Surcoatless Period reached approximately to the mid-thigh of the wearer, and during that period short lames were attached in front at times, making the skirt of plate even longer. As the Tabard Period progressed, however, the taces showed a tendency to decrease in number, thereby shortening the skirt of plate and permitting more of the thigh to be uncovered. In order to remedy this,separate plates, rounded so as to encircle the limb to a certain extent, were affixed to the lowermost tace by straps in front of each thigh, and as the taces contracted the “tuilles,” as they were termed, grew longer and broader. An excellent example is that of Henry Parice in Hildersham Church, Cambridgeshire, 1465 (Fig. 304), who has tuilles, genouillières, and elbow-pieces of extravagant size; the tuilles are here shown suspended by straps to the lowermost of three taces. Incidentally the skirt of the gambeson is disclosed in this figure, and apparently the edge of some defence of mail worn under the taces. A precisely similar example occurs at Roydon, Essex, upon the brass of Robert Colt, 1475. Towards the end of the century the taces had so far contracted that they reached only to the hips, as shown in the brass of Sir Anthony de Grey, 1480, in St. Albans Abbey Church (Fig. 326), but another mode was sometimes adopted, as seen in the brass of Sir Robert Harcourt at Stanton Harcourt, Oxfordshire (Fig. 305), where the tuille was not attached to the lowest tace but to a higher one, the intermediate space being filled up with short lames and mail. Other smaller plates were at times added to protect the outer part of the thighs, called “tuillettes.” If the front tuilles are themselves composed of several plates, or jointed, then the term “tuillette” is also applied tothem.

Fig.303.—Garde-de-bras,c.1490. (Wallace Collection.)Fig.304.—Tuilles, &c., Henry Parice, 1465. Hildersham Church, Cambs.

Fig.303.—Garde-de-bras,c.1490. (Wallace Collection.)

Fig.304.—Tuilles, &c., Henry Parice, 1465. Hildersham Church, Cambs.

Fig.305.—Sir Robert Harcourt,c.1472. Stanton Harcourt, Oxon.

Leg Defences.—These did not undergo such decided transformations as the remaining portions of the armour, but a few innovations deserve attention. Until 1450 there was no decided change from the style prevailing in the Surcoatless Period, with perhaps the exception that the reinforcing plate of the genouillière protecting the grevière had a tendency to lengthen, but was still cut off square. After the above date we find that it is generally pointed in the lower part and laminated, while reinforcing plates begin to appear above the genouillière protecting the thigh and often overlapping each other. An unusual reinforcement for the genouillière is shown inFig. 306; it is of chain mail and occurs upon a suit in the Wallace Collection dated 1470. The actual cap covering the knee did not undergo much change, except that it was often prominent and ridged, but one innovation, and a marked one, is exhibited upon a few brasses (in the Grey brass, St. Albans, for example), where the usual outer guard is prolonged round the back of the knee in orderto protect the gousset generally shown there. A peculiar variety of genouillière is delineated inFig. 307, where a spike is seen projecting from the guard, and a considerable number of lames and reinforcements are shown. It is difficult to see the possible use of this spike, and one can only suppose that it was so placed to annoy the horse of an antagonist when at close quarters. It is from Roy. MS. 18, E. IV. The sollerets remain pointed, and were often of extravagant length, but with less lames as a rule than in the early part of the century; towards the end, about 1490, they disappeared and became extinct, the broad-toed “sabbatons” taking their place. Those of Piers Gerard, 1492, Winwick, Lancashire, are early examples of this fashion (Fig. 308).

Fig.306.—Reinforcement to genouillière,c.1470 (Wallace Collection.)Fig.307.—Spiked genouillière. (Roy. MS. 18, E. IV.)Fig.308.—Sabbaton of Piers Gerard, 1492. Winwick, Lancs.

Fig.306.—Reinforcement to genouillière,c.1470 (Wallace Collection.)

Fig.307.—Spiked genouillière. (Roy. MS. 18, E. IV.)

Fig.308.—Sabbaton of Piers Gerard, 1492. Winwick, Lancs.

PLATE XX*Armour of King Sebastian (Backplate)A. F. Calvert

PLATE XX*

Armour of King Sebastian (Backplate)

A. F. Calvert

Fig.309.—Lance-rest, 1480. (Wallace Collection.)

Until about the year 1460 the sword was worn at the left side suspended by a narrow band passing over the right hip, as in the Surcoatless Period, but after the above date it appears upon brasses and monumental effigies in front of the body, with the point slightly inclined tothe left as a rule, but sometimes hanging perpendicularly. It has a singularly short and ill-proportioned hilt, with a much-swollen grip and a pommel pear-shaped or circular, while the quillons are straight, with a slight droop at the ends towards the blade. The lance-rest was added in the latter half of the century, and is shown projecting from the breastplate in many brasses. Upon some existing suits of the period and later the rest is capable of being folded up when not in use, and kept in place in both positions by a spring. The lance-rest shown inFig. 309dates from 1480, and has a strut or support beneath it to aid in bearing the weight of the lance.

Fig.310.—German tilting armour, 1480, from the Collection in the Museum at Vienna.

Tilting Armour.—From the very earliest times since man bore arms he has engaged in friendly contest with others, not only as a means of recreation and engendering mutual respect, but it was readily recognised that the only way to obtain skill in deadly combat was to constantly practise the art of war in the time of peace. It was also natural and proper that these friendly combats should be governed by rules and regulations whereby the minimum of risk should be run, and so avoid the possibility of turning a manly pastime from a source of enjoyment into a combat of deadly earnestness. Although history records that the latter result really occurred at times, it was the exception that proved the rule, and tilting was part and parcel of a knight’s everyday life, and the glories of the tournament the hoped-for goal. During the early part of the Middle Ages single encounters, and also the mêlée, were fought in the usual harness which the knight was in the habitof wearing in battle, and no other precautions were taken excepting the use of blunted spears and restricting the use of the sword to the edge only. As time advanced, however, and armour became heavier and more cumbersome, the being hurled out of the saddle by a dexterous thrust of an opponent’s lance was a matter of moment, seriously endangering life and limb, whereas it had formerly been deemed comparatively trivial when the defences were of mail or textile fabrics. Hence as time progressed it became necessary to have special armour for the tilt, or to add such extra defences to the fighting armour that the increased weight promised security in the saddle, and the multiplicity of plates between himself and the weapons of his opponent practically guaranteed immunity from harm. This idea, once established, eventually led to the result that a knight armed for the joust could not mount to the saddle, but had prominent portions of this armour fitted when mounted. He became an apparently impregnable tower of steel, immovably fixed in a huge saddle. The student of armour must carefully discriminate between these tilting suits and actual war harness; the former were never used upon the field of battle, although at times we know that certain of the tilt defences were borrowed in order to reinforce the usual harness. The fifteenth century witnessed the inception and almost the culmination of the idea, and a few of the tilting suits of the latter part of that era are still extant.Fig. 310represents the upper portion of a suit of tilting armour from the collection in the Museum in Vienna; it dates from 1480, and is eminently typical of the period. The half-suit, No. 21 (Fig. 418) in the Wallace Collection, is very similarto the suit illustrated. The great tilting heaume is composed of three plates of varying thickness, ranging from nearly half an inch in the principal portions of the front to an eighth of an inch in the back. A comb, convex in section, runs down the centre of the crown, and radiating flutings are seen to ornament the back. The neck of the heaume is firmly fixed to the backplate, and three screws serve the same purpose in front for the breastplate. The occularium, formed by the aperture between the crown plate and the front, appears somewhat large when seen in this position, but remembering that the lance is held considerably lower than the heaume it is possible that an opening half an inch or even less would be presented to it. It was quite possible to have comparative freedom of movement for the head inside the heaume, which was invariably furnished with a quilted lining.

PLATE XXI*War Armour, early Seventeenth Century, Milanese makeArmour of Prince Philip II., German make, 1549A. F. Calvert

PLATE XXI*

War Armour, early Seventeenth Century, Milanese make

Armour of Prince Philip II., German make, 1549

A. F. Calvert

Fig.311.—Queue. (Wallace Collection.)Fig.312.—Queue, vamplate, and lance. (Tower of London.)

Fig.311.—Queue. (Wallace Collection.)

Fig.312.—Queue, vamplate, and lance. (Tower of London.)

Fig.313.—Polder mitten. (Tower of London.)Fig.314.—Garde-de-bras. (Wallace Collection.)

Fig.313.—Polder mitten. (Tower of London.)

Fig.314.—Garde-de-bras. (Wallace Collection.)

The specimen in the Wallace Collection weighs twenty pounds. The breastplate is globular in form, and flattened upon the right side to allow of the queue (Fig. 311) being affixed; this singular addition consists of a bar of steel rectangular in section and screwed firmly into the breastplate, bearing at the rear extremity a turned down hook which resisted the upward pressure of the butt of the lance. The front portion of the queue has another hook turned upwards, in which the lance rested, and behind which it was gripped by the hand. This hook was omitted when the lance-rest was separate and affixed to the right side of the breastplate, as seen in the figure, where it appears to be forged in one pieceand secured by two screws. An excellent example demonstrating in a practical manner the use of the queue is exhibited in the Tower Collection, where the lance is seen in position, and a large vamplate of curious design is affixed for the protection of the hand and arm (seeFig. 312). In order to admit of the free passage of the lance the large palette protecting the right armpit is slightly hollowed at its lowest part; the Wallace suit has a companion palette protecting the left arm. Upon the shoulders are pauldrons of two plates, decorated with radiating fluting, and upon these in the Wallace suit are two upright iron pins or projections to which were attached the flowing ends of the lambrequin, contoise, or mantling, depending from the crest. In the example from Vienna eyelets occur upon the pauldrons for the same purpose. The brassarts are laminated and overlap each other downwards. Upon the right arm appears the Polder mitten (a corruption ofépaule de mouton, so named from its shape), an additional reinforcing piece which is screwed to the vambrace and protects a large portion of the arm. It has fine flutings radiating from the bend. No gauntlet is seen, the vamplate generally affording a sufficient protection for the hand. A similar reinforcement for the right arm is upon the Wallace suit, which differs only in a few details, whilst a very fine example of this reinforcement, but dating from a later period, is preserved in the Tower (No. 371, Case 25) (Fig. 313), which exhibits excellent workmanship. The elbow-joint of the left arm is protected by agarde-de-brassimilar in form to that upon the right arm; this is riveted to a manifere (ormain-de-fer) of one plate protecting the bridle hand, and decorated withflutings radiating from the wrist. The protection for the left arm in the Wallace suit is represented inFig. 314; it is a large and finely fluted piece secured to the vamplate by three screws. A small oak shield covered with leather and painted is secured by a guige passing through two holes in the left upper part of the breastplate; it is not connected in any way with the arm, but simply hangs in position. This is the Stechtarsche. InFig. 310, no armour is shown below the waist, but the Wallace suit is furnished with taces of four plates, to the lowest of which are fixed the tuilles; while the breastplate is reinforced by a placcate. Judging from the deep grooves and indentations upon the heaume and palettes this suit has been donned at times in the combatà outrance, when the war spear was employed, as the lance-head or coronal customarily used in the Joustes of Peace would not effect such damage. The Joustes in question were conducted upon the original methods, namely, in the open lists or field and without any obstruction between the combatants; the system of running with a barrier between the horses was termed the Italian course, and was not used generally in Europe until the sixteenth century. This Italian course is known asÜber die Pallia(over the barriers), orWelsches Gestech, in contradistinction to the open course orDas Deutsche Stechen. The Wallace suit, including the heaume, weighs 96 lbs., and bears the Augsburg guild mark. A few extra tilting pieces which cameinto vogue upon the Continent in this period will be dealt with in a subsequent chapter.

A fine suit of Gothic armour to which reference has been previously made is in the Wallace Collection (Fig. 288) which dates from 1470. The salade is of fine covering form and is fitted with a lifting visor; the mentonnière has one plate which falls if required. The breastplate is reinforced with a large placcate and has laminated goussets protected by fluted roundels. The taces are of three plates, to which the tuillettes (so called because they consist of more than one plate) are suspended. Espalier pauldrons of very fine workmanship protect the shoulders and upper arms; the coudières are peculiar to the period, while mitten gauntlets with long cuffs and demi-vambraces are also used. Demi-cuissarts of three plates have the genouillières fixed to them, while the jambarts are complete. The sollerets and a few other parts of the suit are restorations. The chain-mail reinforcements to the jambarts are of rare occurrence.

Fig.315.—Gothic armour from the Tower of London

A suit of armour in the Tower of London deserves special mention by reason of its being the oldestcap-à-piesuit of plate in the collection. It is shown inFig. 315, and probably dates from the middle of the fifteenth century, having practically no decorations of any importance. It is furnished with a visorless salade having a long tailpiece, and a gorget with a roped border which is probably of a later date. The epaulières consist of five laminated plates; the coudières are small, while demi-brassarts and complete vambraces cover the upper and lower arms respectively. The gauntlets are of overlapping plates with large cuffs. The breastplate has twodemi-placcates reinforcing it, and the backplate is of three pieces. The taces are three in number, to which tuilles of one plate are affixed. Demi-cuissarts, plain small genouillières with fan-shaped guards, and grevières of complete plate (probably recent) protect the lower limbs. There are no sollerets. The figure is equipped with a pole-axe of an original pattern, the shaft being partially sheathed in iron. Another suit, No. 26, probably dates from the last years of the fifteenth century, as it is furnished with a chain-mail skirt. The breastplate has a demi-placcate strengthening it; the gauntlets are very elaborate with fine gadlyngs and cuffs (probably the cuffs only are original); the cuissarts have four lames upon the upper parts, while the sollerets are of beautiful construction but recent workmanship. The backplate is of two plates, and a garde-de-rein is affixed below. The suit has been much restored.

PLATE XXII*Half-suit, Pamplona Armour, Philip III.A. F. Calvert

PLATE XXII*

Half-suit, Pamplona Armour, Philip III.

A. F. Calvert

The finest example of complete war harness for man and horse to be seen in London, and probably in England, of the very early period of 1460 is that which occupies such a prominent position in the Wallace Collection (Fig. 316). It was formerly in the famous collection of the Count de Nieuwerkerke, who purchased it from M. E. Juste, of Paris, for £1200, but probably if it came under the hammer now it would bring in four to six times that sum. As one might expect, it has had to be made up in a few parts to its present complete condition, but nothing whatever has been done to the armour for the lower limbs, which is original and well preserved. This is the more to be wondered at inasmuch as those are the parts more liable to suffer injury and need replacement than any others. The salade is of fine form and furnished with a visor, the occularium being formed between the upper part of the visor and the lower edge of the crown-piece. The mentonnière is attached by a screw to the breastplate, and is in two parts, the upper one falling if required, similar to the buffe of a later period, while a demi-placcate is affixed by an almayne rivet to reinforce the breastplate. The backplate is in five plates, all riveted in such a manner as to afford the maximum of movement for the back. A garde-de-rein of four plates is affixed below. The left coudière is of a graceful form and large proportions; the right differs in pattern, and has a garde-de-bras riveted to the vambrace protecting the inner bend of the arm. The cuissarts, composed of a number of plates, are of a most ingenious design, whereby tuilles are rendered superfluous. But perhaps the chief point of interest is centred in the sollerets, which have extreme lengths of pointed toe-caps; to these are attached the spurs, the necks of which are ten inches in length. At a period when it was necessary to cut the straps of sollerets when fighting on foot, and so remove the projecting point as to enable the knight to walk, it is curious to find in this suit that no provision is made for such a contingency, and that the long, pointed toe is riveted on. The genouillières are of latten, and below them deep pointed plates extend, to which are affixed the grevières, which fasten by spring catches on the inside. The whole of the armour is of a most graceful form, and the eye, accustomed to mediæval representations of contemporary equipment, dwells with delight upon this beautiful example of art from the Middle Ages. The use of latten as a means of adornment for the edges of various plates gives a rich contrast to the dull grey of the steel. Another fine suit ofcap-à-piearmour dating from the fifteenth century, in the Wallace Collection, is No. 46, which may be of German origin, and dates from about 1490. The head is protected by an armet of very fine proportions, opening down the centre of the chin-piece, and having a bavière and visor in a single plate. The breastplate is very globose, and is an example of the mediæval fashion of engraving mottoes, texts, invocations to the saints, &c., upon armour, as it bears a prominent inscription. It is furnished with sabbatons, and partakes in many characteristics of the nature of armour of the succeeding century.

Fig.316.—Equestrian figure. (Wallace Collection.)

Fig.317.—Thomas de St. Quintin, 1445. Harpham Church, Yorks.

The second half of the fifteenth century saw armour not only in its highest development, but also of the most beautiful form, for nothing can exceed the graceful lines and excellence of workmanship characterising the Gothic style, as it is usually called. It was made to fit thehuman form and to adapt itself to the movements of the wearer. One of the most valuable relics we possess, illustrating its features, is the absolutely unique effigy of Richard Beauchamp, Earl of Warwick, in the Beauchamp Chapel, St. Mary’s Church, Warwick,temp.1454 (the earl died in 1439). It is of latten, gilded, and in perfect preservation: every feature, turn, and curve of the original copy is faithfully reproduced not only upon the front part or upper surface, but also upon the back; it was turned over some time since in order to be copied, and was found to be as carefully and accurately finished there as in the parts usually visible. Every detail is represented except the mentonnière, which is usually absent in effigies, though the catch for its attachment is shown. The points calling for special notice are the passe-guards or pike-guards upon the pauldrons which constitute a very early example of this adjunct, and also the presence of two large tuilles and two smaller tuillettes. The coudières are large and of the beautiful butterfly pattern, covering the inner bend of the arm; they are both equal in size and of the same pattern. Although the work was executed by an Englishman, William Austin, the armour is undoubtedly of Milanese manufacture, and may be ascribed to the Missaglias. An early example, foreshadowing the changes which occurred in defensive armour in the second half of the fifteenth century, is that of Thomas de St. Quintin, 1445, in Harpham Church, Yorkshire (Fig. 317). The figure is represented in pointed bascinet and mentonnière, beneath which the laminated epaulières are partly visible. These are almost covered by two palettes of singularly large size, that upon the left being thegreater; the reinforcement to the breastplate appears below. Upon the right coudière is an additional plate termed the garde-de-bras, and another of larger proportions and different form covers the left. The breastplate is of the short form, and necessitates the addition of six taces, to which are appended the tuilles. The figure shows the sword and misericorde being worn as in the Surcoatless Period. The effigy of Sir Richard Vernon, 1452, at Tong Church, Shropshire, is an excellent example of mediæval Gothic armour, and as portrayed in “Shaw’s Dresses and Decorations” is simply magnificent. Ourfrontispieceis adapted from the illustration. The orle surrounding the bascinet is gorgeous with chased work and pearls; the head rests upon a ponderous heaume, shaped for the shoulders, and bearing crest and mantling. The mentonnière is here in place: the breastplate is reinforced by a demi-placcate, and there are eight lames of taces with short tuilles. The genouillières have only a lower reinforcement, and the sollerets are comparatively short. A very late example of the hip-belt is shown, from which the misericorde is suspended, the sword-belt being quite distinct. The pauldrons are dissimilar,the right being the smaller and hollowed for the lance; while the upper parts of both are fluted. The coudières are distinctly beautiful, with radiating flutings upon the butterfly shape, which is folded inwards over the goussets.

Fig.318.—Walter Green, 1450. Hayes, Middlesex.

Fig.319.—John Gaynesford, 1460. Crowhurst Church, Surrey.

Of the same date as the Beauchamp effigy is the well-known brass of John Daundelyon at Margate, 1455, whose breastplate is of the short character, as shown in the effigy; the bascinet is very pointed at the apex, and the mentonnière appears of singularly graceful form. The palettes are large and dissimilar, the left covering a considerable portion of the breastplate; upon the left arm is a circular garde-de-bras attached to the coudière, while an extremely large coudière is shown upon the left arm which may be regarded as a second garde-de-bras: the gauntlets are characterised by long pointed cuffs. Walter Green, 1450, whose brass occurs at Hayes, Middlesex, is represented without any bascinet, but with the head resting on a visored tilting helm (Fig. 318). The epaulières consist of a number of lames which extend upwards to the neck, where they are confined by a band, and over these are two symmetrical pauldrons of plain pattern. His armour bears a remarkable resemblance to that of John Gaynesford, 1460, in Crowhurst Church, Surrey, even to the plain gauntlets of four plates covering the hands. In both examples the taces are numerous and worked into broad escallops, tuilles being omitted (Fig. 319). An early example of the garde-de-bras is that represented upon the memorial effigy of Sir John Verney, Albury, 1452, where a small garde is attached to the coudière of the right arm and an enlarged one of peculiar shape to the left (Fig. 320). Upon the same effigy also occurs a complicated genouillière, which, fitting closely to the knee, is provided with two reinforcements above and below, the extreme plates being worked into highly ornamental forms (Fig. 321). A coudière of large size and graceful form is shown upon the brass of Henry Parice, 1464, at Hildersham, Cambridge, where arming points are seen attaching it to the brassart and vambrace: it is serrated in the upper extension, and the same decoration is repeated upon the pike-guard of the pauldron. In this figure the lance-rest is shown affixed to the breastplate (Fig. 322). Upon the same brass there is an example of extravagant tuilles attached to the lowest of three taces by straps, while the rare occurrence of the skirt of the haqueton with the edge of a defence of mail (possibly a hauberk) is shown, another instance being that at Roydon, Essex, upon the brass of Robert Colt, 1475. Sir Robert Staunton’s brass, 1458, in Castle Donington Church, Leicestershire (Fig. 323), affords us the best example of extravagant coudières, and is also remarkable for showing the salade, which is of extreme rarity upon brassesand effigies. The latter is represented very wide in form, with a falling visor having the occularium in it, and guided by a prolongation which apparently runs backwards and forwards upon a hidden comb. The gorget is of plate, over which the laminated epaulières are shown, apparently meeting over the chest: other details of the arms are hidden by the enormous coudières, which, strange to say, are of similar size and form. They are cusped and fluted in the upper parts. Upon viewing these arm defences the reason may readily be perceived why the knights deemed the shield superfluous. A demi-placcate is added to the breastplate. The armour shown upon the brass of Sir Robert del Bothe, 1460, in Wilmslow Church, Cheshire (Fig. 324), is characterised by excessive singularity of contour, suggesting an origin in one of the northern continental countries. No headpieceis shown, but the knight probably wore the salade: a mentonnière of several plates covers the upper part of the breastplate, which apparently is not reinforced. The massive pauldrons are almost similar in outline, and each is provided with a projecting ridge upon the shoulder in addition to a low pike-guard. The chain mail gousset is very apparent where the pauldron has been cut away to permit of the lance being held. The coudières are strange, almost grotesque, in form. The right arm in wielding the sword, mace, and lance, would be almost always in an extended position, hence the small latitude allowed in the coudière for bending it: the left, or bridle arm, would necessarily be bent more. The awkward position of the arms may be explained by stating that on the brass the knight is holding the right hand of his lady with his own. The long form of breastplate necessitates only three taces, which are escalloped, and two large tuilles, vieing in size with those of Henry Parice, are appended. The genouillières are remarkable for the excessive development of the guard-plate protecting the gousset at the back of the knees; this guard is seen upon many effigies but few brasses, and where it occurs in the latter might easily be overlooked—see the brass of Sir Anthony de Grey for example. Upon the brass of Sir Thomas Grene in Grene’s Norton Church, Northamptonshire (Fig. 325), the knee-guards are, if anything, larger than those upon the Bothe brass, while Henry Green, in Luffwick Church, Northamptonshire, 1467, who wears a tabard, has similar guards. Sir Robert del Bothe is among the first, or is the first, to exemplify the wearingof the sword in front of the body sloping from right to left: this fashion was introduced about 1460, and is one of the clues used in identifying the chronology of a brass.

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