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Reinforcing Breastplate, Shoulder Defense, and Buffe (Chin Defense)

Reinforcing Breastplate, Shoulder Defense, and Buffe (Chin Defense)

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description

Summary

These reinforcing pieces is part of an unusually large armor garniture (acc. no. 27.159.1), which contains pieces for use in battle and for the tilt in both the Italian and German fashions. The tilt was a tournament fought on horseback between two opponents armed with lances and separated by a lengthwise barrier.The armor as mounted is equipped with a helmet and vambraces (arm defenses) for the tournament. The buffe (chin defense), second breastplate (27.159.2), and manifer (reinforced left gauntlet) (27.159.6) would have been added to make the armor ready for exchange pieces for different forms of the tournament. For the German tilt, the trellised targe (shield) (27.159.7), small elbow defense (27.159.5), and small stomach defense (27.159.3) were added. For the Italian tilt, these elements were replaced by the form-fitting reinforce covering the left half of the torso and left shoulder (mezzo sovrapetto) (27.159.2) and the larger elbow defense (soprabacciale) (27.159.4).The garniture also includes two complete sets of saddle steels (27.159.13, .14) (only one is exhibited) and two vamplates (conical hand defenses affixed to the lance) (27.159.8, .9). The decoration consisting of etched bands containing trophies of arms and musical instruments was a popular design found in many variations in Italy throughout the second half of the sixteenth century.

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.

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Date

1570
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The Metropolitan Museum of Art
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