Field Armor Probably of Sir John Scudamore (1541 or 1542–1623)
Sir John Scudamore (1541 or 1542–1623) was appointed a Gentleman Pensioner by Queen Elizabeth I (reigned 1558–1603) in 1571 or 1572 and knighted in 1592. This armor probably was commissioned by him in preparation for the threatened Spanish invasion of England in 1588. It was made in the royal workshops at Greenwich during the tenure of Jacob Halder (documented in England 1558–1608) as master armorer.The remains of this and the later Scudamore armor for his son James in the adjacent case were found, badly damaged and incomplete, in 1909, in Holme Lacy, the ancestral home of the Scudamores. The armors were restored and completed in The Metropolitan Museum of Art in 1915, by the armorer Daniel Tachaux. The parts made by Tachaux include the helmet, left pauldron (shoulder defense), gauntlets, and right sabaton (foot defense).
Made under the direction of Jacob Halder (British, master armorer at the royal workshops at Greenwich, documented in England 1558–1608)
Greenwich; New York, New York
The full suit of armor is a feature of the very end of the Middle Ages and of the Renaissance period. Plate armor is a type of personal body armor made from iron or steel plates. By about 1420, complete suits of plate armor had been developed in Europe. It commonly seen in the Western European armies especially during the Hundred Years War, the Wars of the Roses or the Italian Wars. European leaders in armoring techniques were northern Italians, Milan, and southern Germans. A full suit of plate armour would have consisted of a helmet, a gorget (or bevor), spaulders, pauldrons with guardbraces to cover the armpits as was seen in French armour, or besagews (also known as rondels) which were mostly used in Gothic Armour, rerebraces, couters, vambraces, gauntlets, a cuirass (back and breastplate) with a fauld, tassets and a culet, a mail skirt, cuisses, poleyns, greaves, and sabatons. The very fullest sets, known as garnitures, more often made for jousting than war, included pieces of exchange, alternate pieces suiting different purposes, so that the suit could be configured for a range of different uses, for example fighting on foot or on a horse. The armor was articulated and covered a man's entire body completely from neck to toe. Full suits of Gothic plate armor were worn on the battlefields of the Burgundian and Italian Wars. The most heavily armored troops were heavy cavalries, such as the gendarmes and early cuirassiers. The specialized jousting armor associated with the medieval knights developed in the 16th century. Maximilian armor of the early 16th century is a style using heavy fluting and some decorative etching, as opposed to the plainer finish on 15th-century white armor. The shapes include influence from Italian styles. This era also saw the use of closed helms, as opposed to the 15th-century-style sallets and barbutes. During the early 16th century the helmet and neck guard design were reformed to produce the so-called Nürnberg armor, many of them masterpieces of workmanship and design. As firearms became better and more common on the battlefield the utility of full armor gradually declined. After 1650, due to the development of the flintlock musket, which could penetrate armor from a considerable distance, plate armor was reduced to the simple breastplate (cuirass) worn by cuirassiers. The decoration of fine armour greatly increased in the period. Such work required armorers to either collaborate with artists. Daniel Hopfer was an etcher of armour by training, who developed etching as a form of printmaking. Other artists such as Hans Holbein the Younger produced designs for armor. The Milanese armorer Filippo Negroli, from a leading dynasty of armorers, was the most famous modeller of figurative relief decoration on armor.