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Studies of a Seated Youth in Armor

Studies of a Seated Youth in Armor

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description

Summary

This celebrated drawing depicts a young model dressed in armor and positioned as though he were on horseback, his right arm raised and holding the shaft of a spear in his gloved hand. The figure is supplemented at upper right by a study of a helmet and, at lower left, by a detail of the armor. Both secondary studies are drawn in a larger scale, allowing Carpaccio to explore them in great detail. The pictorial effects of the drawing are achieved through the chromatic contrast of the blue paper; the reflections on the armor and the boy’s face are achieved through using white gouache and shadows in a few parallel lines. The artist may have intended to use this study for a painting, though the figure differs from the series of canvases dedicated to the life of the saint that he painted for the Scuola di San Giorgio in Venice.
Vittore Carpaccio (Italian, Venice 1460/66?–1525/26 Venice)

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

1505
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The Metropolitan Museum of Art
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