THE METROPOLITAN MUSEUM OF ART

HISTORICAL ARMOR A PICTURE BOOK

THE METROPOLITAN MUSEUM OF ART

HISTORICAL ARMOR

A PICTURE BOOK

%

NEW YORK

1957 COPYRIGHT BY

THE METROPOLITAN MUSEUM OF ART 1946

PRINTED IN AN EDITION OF 2,500 COPIES, 1944'

REPRINTED IN A SECOND EDITION OF 5,000 COPIES, 1946,

RKPRINTED IN A THIRD EDITION OF 5,000 COPIES, 195 J •

REPRINTED WITH MINOR REVISIONS IN A FOURTH EDITION OF 5,000 COPIES, 1957

DRAKE-TRIUNE COMPANY, NEW YORK HISTORICAL ARMOR

"Apres la mort bone renomee demvree" (A good name lives after death). Inscription on the sarcophagus of Galiot de Genouilhac.

N the Armor Galleries, as in few places woodcut by Hans Burgkmair2 reproduced on elsewhere, the historic past takes on move­ the cover shows the equestrian figure of the I ment and color, and one's imagination Emperor Maximilian I wearing a new style of leaps back to the days when armor made one armor. Discarding slenderness and grace of man the master of many. The splendid har­ outline,- the new style sacrificed the lines of nesses that one sees here were worn in battle, height for those of breadth and was orna­ in the joust, and in stately pageants. They are mented with rows of fluting. This fashion masterpieces of metalwork, made for leaders seems to have come from Milan. It is inter­ who had at their command the services of great esting to recall that the "milliner" of the artists. During the Renaissance, there was a present day was originally the Milaner, so close relationship between painters, sculptors, called, from Milan, in Italy, which at this time goldsmiths, and armorers, and often the same gave the law to Europe in all matters of armor artist worked in all these fields. An armorer and dress. Maximilian inherited the duchy of was actually a sculptor in steel whether we con­ Milan and so introduced the Milanese style sider his work from the viewpoint of the shap­ into German)-. Kings and princes have always ing of the plates or of their surface decoration: been fashion makers, and as Maximilian was witness the helmet of Francis I (fig. 3), which actively interested in the making of fluted is embossed in high relief, a technique closely armor, this type has in modern times been related to that of the sculptor. Many of the named after him. leading artists also made designs for armor. Our earliest historical^ harness is of Maxi­ A sketch by Albrecht Diirer, in the Morgan milian type (fig. 13). It came from the armory Library, shows one of his designs for the silver of the Teutonic Order at Konigsberg, in harness which the Augsburg armorer Kolman Prussia, and is attributed to Frederick of Sax­ Helmschmied1 began for the Emperor Maxi­ ony (1474-1510), who was Grand Master of milian I in 1517. Kolman, who also made the the order from 1498 to 1510. From 1466 to armor of Frederick of Saxony (fig. 13), spent his 1526 Grand Masters of the order ruled in East early years in the shadow of his brilliant father, Prussia as vassals of Poland. This harness, Lorenz, with whom Hans Burgkmair the Elder which is part of a suite that could be worn collaborated in executing armor for Maxi­ at court, in the joust, or in the field, is of milian. It was not long, however, before Kol- bright steel, embossed, etched, and gilded to man's reputation spread. He, too, worked for represent the puffings and slashings in the Maximilian and for the Emperor Charles V. eccentric dress of the period, and etched to It is known that the artist Daniel Hopfer (1470- imitate the gold brocade garments worn under 1536) collaborated with the Helmschmieds in the armor. The visor is embossed to represent designing and decorating armor, and there is the face of a man with an aquiline nose and a reason to believe that some of the Museum's moustache terminating in balls that are skill­ armor was etched in Hopfer's workshop. fully forged in one piece with the rest of the Each of the objects shown in this picture visor. On the exchange breastplate of this book is a potential teacher of history. The armor, which was in the Historical Museum in Dresden, are etched the initials of a device, iThe name Helmschmied denotes a craft and it is and the cross bestowed by Pope Celestin III from this craft that the family surname is derived. 2Dodgson, II, 75, «5(i-B) on the Teutonic Knights of the Church of the Holy Virgin in Jerusalem; in the central shield the Chief Victories of the Emperor Charles V, superimposed on the cross appears the Prus­ which were engraved by Dirck Volkertsz. sian eagle. When Konigsberg was captured by Coornhert and published by Hieronymus Cock Soult, one of Napoleon's marshals, in 1808, of Antwerp in 1556; a set of the prints is in the contents of the armory were scattered; later the Metropolitan Museum. A pair of tassets the elements of Frederick's armor were for a (see fig. 20) belongs to a harness made for the time in the possession of Prince Radziwill of emperor by the Augsburg armorer Matthaus Nieswiez, Poland. Frauenpreis (Frawenbrys). They are embossed, In Poland—a passageway between the East etched, and gilded, with a griffin segreant and the West—there have always been wars, and the column of Hercules, surmounted by and always the Princes Radziwill have marched emblems of the Order of the Golden Fleece- with their retainers to battle. From the ances­ fire steels and flint stones emitting sparks. The tral armory of the Radziwills are elements of griffin is associated with the imperial arms and a rare etched and gilded puffed and slashed as a symbol in heraldry expresses strength and armor of about 1525 which was probably made vigilance. The column of Hercules may be for Prince George I (1480-1541), surnamed the considered an allusion to the extension of Victorious or the Lithuanian Hercules. These Spanish dominion to America (transplanting comprise a backplate with its hoguine (buttock the columns of Hercules) where the emperor's defense) and sleeves (fig. 14). The latter imi­ conquistadors were active. The fire steels and tate the wide puffed sleeves that were com­ flints are intended to admonish the knights pressed to form a cushion when worn under of the order that, steeled by the strength of armor. The slightly recessed ornament of the religion, they should protect and defend the etched pattern represents the slashes intro­ Christian Church with fiery zeal. A pate duced into contemporary costume in simula­ defense (fig. 19) made in 1549 as part of a tion of wounds, to indicate the valor of the harness for the Archduke of Austria, later the wearer. The etched design enriching this armor Emperor Maximilian II, is by the same Augs­ appears in two woodcuts—one showing it on burg armorer. The armor belongs to the costume, the other on armor—by David de Kunsthistorisches Museum in Vienna. Draw­ Necker, who evidently copied them from draw­ ings for the decoration of this armor, includ­ ings dating about 1525. ing the pate defense, appear in the sketch book It is well known that the most distinguished of the Augsburg etcher Jorg Sorg, preserved armorers of Italy, Germany, and Spain flour­ in the Library at Stuttgart. ished under the patronage of the Emperor The finest horse armor in the Museum is Charles V, who was an excellent soldier. A shown in figure 16. It is embossed and etched, parade helmet and a shield (figs. 9, 10), of and in addition to the date 1548 bears the steel, embossed, damascened, gilded, and sil­ guild mark of Nuremberg, the initials of its vered, from the collection of Prince George original ducal owner, and letters standing for Fugger of Augsburg, are associated with this the pious inscription, "I trust in God with all emperor. When armor was worn for pageantry my heart, Johann Ernst, Duke of Saxony." rather than for battle, its decoration had to This inscription recalls the armor's prove­ reflect the spirit of the occasion. Our shield nance, the Wartburg, where Luther was represents the surrender of John Frederick, brought for safety in 1521 at the instance of Elector of Saxony, to Charles V after the battle Frederick the Wise, Elector of Saxony, an uncle of Muhlberg in 1547, in which the Lutherans of Johann Ernst, and where he completed his were defeated. The design is copied after a translation of the New Testament. The fact drawing by Martin van Heemskerck, signed that the date and the initials of the original and dated 1554, in the British Museum. This owner are prominently displayed would indi­ was one of the series of twelve drawings, called cate that the armor was made for an impor- tant occasion. This may well have been the and gilded half-armor from the workshop of diet called at Augsburg in 1548 by the Emperor the Augsburg armorer Anton Peffenhauser. Charles V, after which the Interim, intended Peffenhauser was descended from a family of to reconcile the Lutherans with the Catholic silversmiths and was a neighbor of Desiderius Church, was proclaimed. At this important Helmschmied, imperial armorer. Christian I, diet the princes of the realm appeared in who reigned only five years, was succeeded by armor, for it was a geharnischte Reichstag. Christian II (1583-1611). The latter's State The armor for man mounted with the horse Guard is represented by a gracefully modeled panoply was worn by a member of the house helmet (fig. 17), one of the most stately of the of Liechtenstein. It bears the same date and headpieces worn by the bodyguards of Euro­ the mark of the celebrated armorer of the pean royalty at the close of the sixteenth Renaissance, Kunz Lochner of Nuremberg, century. who was court armorer to the Emperor Maxi­ France contributes several suits of outstand­ milian II when he was archduke. In 1551 ing significance. Of regal splendor is the armor Lochner was granted three helpers "over the (fig. 1) of Galiot de Genouilhac (1465-1546), ordinary" because of his many foreign orders a distinguished member of one of the great —which the Nuremberg Council felt would feudal families of France, who served as a redound to the credit and honor of the city. warrior under Charles VIII and was Master Among the emperor's allies was his nephew of Artillery for Louis XII and Francis I. This by marriage, Albrecht V, Duke of Bavaria. harness, the entire surface of which is etched Albrecht's armor (fig. 15), also considered to and mercury-gilded, is probably not unlike the be the work of Kunz Lochner, is dated 1549 one which he wore at the extravagant cere­ and bears the Nuremberg guild mark. Its monies held on the Field of the Cloth of Gold. etched decoration includes the ragged staves Every detail of the construction is worked out and fire steel, the insignia of the Order of the with the utmost care, and from the standpoint Golden Fleece to which Albrecht was elected of practicality it is one of the best harnesses at the age of seventeen, the Madonna as Pro­ extant. It is dated 1527, and three of the four tectress of the order, and Peter and Paul, the Labors of Hercules appearing as central motifs Princes of the Apostles. in the etched ornamentation are also sculp­ The Museum has an imposing series of arms tured on the walls of the chateau which and armor linked to the ducal court of Saxony. Genouilhac had built at Assier on the site of Many bear the Saxon heraldic arms in which the manor he demolished in 1524. Genou- crossed swords, the insignia of the archmar- ilhac's armor was inherited by his daughter shalship, an office of the Holy Roman Empire Jeanne, Viscountess d'Uzes, and remained in vested in the house of Saxony, are displayed. the ducal chateau of Bonnelles, Seine-et-Oise, Our earliest Saxon element is a shield (fig. 12), until it was acquired directly from the d'Uzes dating about 1475, of wood overlaid with family by the Museum. gesso and painted with the figures of Saint The field armor (figs. 6, 8) worn by Anne George and the dragon and a German inscrip­ de Montmorency (1493-1567), Constable of tion invoking the aid of God and Saint France, when he was wounded and taken pris­ George. The craftsmen who made such wooden oner at the battle of St.-Quentin in 1557, is a knightly shields came within the jurisdiction worthy companion to Genouilhac's harness, of the guild of heraldic painters (blasonniers). and the two fittingly recall that Genouilhac A suit for foot combat, one of a series of and Montmorency were captured with Fran­ twelve commanded by the consort of Chris­ cis I at the battle of Pavia, the victor being tian I (1560-1591), Elector of Saxony, to be the Emperor Charles V. The Constable Anne, presented to him on Christmas Day, 1591, is so named after his godmother, Anne of illustrated in figure 18. It is a blued, etched, Brittany, Queen of France, was an illustrious warrior throughout his long life. After serving non. Its entire surface is a field for the richest as the companion of five kings of France, he ornamentation—embossing, damascening, gild­ eventually met a soldier's death from wounds ing—and this richness added to the glamour received at the siege of St.-Denis in 1567. His surrounding a victorious leader. The principal armor is a three-quarters fighting suit, large in motifs are figures symbolically representing a size, weighing fifty pounds. Its laminated con­ triumph, thus reflecting the king's military struction permitted great freedom of move­ achievements. This armor belongs to a group ment. The ornamentation includes two nude of objects which, because of the superior qual­ genii supporting a cartouche etched with two ity of their workmanship, have in modern clasped hands. This motif, an emblem of peace, times been attributed to Benvenuto Cellini. also appears on one of the pedestals of Mont­ Cellini did not make our armor, but it was morency's funeral monument in the Louvre. made by, or under the influence of, distin­ The armor came from Wilton House, Salis­ guished Italian armorers who, like Cellini, bury, the seat of the earls of Pembroke, where worked for a king of France. It was made in it was preserved until about 1920. Its presence the Louvre atelier of royal armorers during a at Wilton may be accounted for by the assump­ period when great artists in metalwork flour­ tion that it passed as loot into the possession ished. According to tradition, the armor was of William Herbert, first earl of Pembroke, presented by Louis XIII of France (1601-1643) who led the English contingent at the battle to Bernhard, Duke of Saxe-Weimar (1604- in which the constable was taken prisoner. 1639), a celebrated commander of the Thirty An embossed helmet (fig. 3) associated with Years' War. For years it was the pride of the Francis I is the finest example of work in steel Wartburg Armory in Eisenach, the great armor in this Museum and one of the greatest master­ collection of the Grand Dukes of Saxe-Weimar- pieces in metalwork extant. Its brow piece is Eisenach. The embossed shield (fig. 4) bears dated 1543 and is signed by Philip de Negroli the monogram of Henry II interlaced with a of Milan, the Michelangelo of armorers. double initial which may be C for his wile, Negroli's work was praised by Vasari, and a Catherine de' Medici, or D for Diane de sixteenth-century account recorded that such Poitiers. The central scene commemorates the distinguished patrons of art as Charles V and victory of the Franco-Turkish army at Boni­ Francis I were amazed at his skill. The French facio in Corsica in 1554, a battle between king was the ruling duke of Milan at the oriental and occidental armies in which time when Negroli was making this casque. infantry, artillery, and cavalry look part. The It is modeled in graceful lines and lavishly original designs for this royal armor and embossed with coiling tendrils and foliation, shield are in the Staatliche Graphische Samm with a central flower from which a cupid half lung in Munich. emerges. The crest is fashioned as a supine Our latest French historical armor—a helmet female figure arising from acanthus leaves, and shield (figs. 24, 25) dating about 1700—was her hands grasping the tresses of a gorgon's prepared for Louis XIV for a ceremonial occa­ head. The boldness of the embossing and the sion, when the king appeared in antique cos­ beautiful bronze-black patina acquired in the tume. Their heavy weight makes it seem prob­ course of centuries give the helmet the appear­ able that they functioned as accessories rather ance of having been cast, although actually it than as military equipment. They are of silver was sculptured in cold steel. with mountings in bronze, chiseled and gilded. The equipment of Henry II (1519-1559), The winged dragon forming the crest of the son of Francis I, is represented by his sump­ helmet and the head of Medusa on the shield tuous parade armor and shield. The armor are masterpieces of this type of ornament. The (fig. 5) was worn in state processions amid the helmet appears in a youthful portrait of ringing of church bells and the firing of can­ Louis XV by Hyacinthe Rigaud. The Medici family is brought to mind by unknown artist of Guidobaldo II, showing the a helmet (fig. 2) which evidently was highly breastplate now in the Bargello and the helmet prized, since it appears in two portraits, that in the Hermitage. The mate of our shoulder of Ferdinand I de' Medici (reigned 1587-1609), piece also appears in Titian's portrait of D. in the Pitti Palace, Florence, and that of his Claudius Caesar, one of twelve portraits of son Cosimo II de' Medici (reigned 1609-1620), Roman emperors that Federigo Gonzaga com­ now in this Museum. The helmet is a master­ missioned Titian to paint in 1536 to decorate a piece, subtle in modeling, with delicate surface gallery of the castle at Mantua. The original chiseling, and richly gilded. It is embossed in paintings, one of which was executed by Giulio low relief with the Battle of the Centaurs and Romano, have disappeared, but there exist Lapithae, gorgons, foliation, and a Greek wave engravings of them by Egidius Sadeler. In a pattern developed conspicuously on the crest. Florentine manuscript of 1642 (of which the In execution it is reminiscent of the goldsmith Metropolitan Museum has a copy), Antonio or medalist rather than the armorer, whose Petrini gives an accurate description of Guido- work would have been more boldly sculptured. baldo's harness as it was then shown to visitors Its maker is unknown, but some authorities to the Grand Ducal Armory, but he says it consider it to have formed part of the embossed belonged to Hannibal the Carthaginian! harness of Henry II of France in the Louvre The armor (fig. 11) of Taddeo Barberini collection and, like it, to have been made in (died 1647), a nephew of Pope Urban VIII, the royal armory in Paris. That this master­ General of the Church, Prefect of Rome, and piece should have come into the possession of commander of the fortress of Sant' Angelo, a Medici is not surprising when one recalls is also Italian. It is richly engraved, gilded, that Catherine and Marie de' Medici were sculptured, tooled, and decorated with studs queens of France. of silver; and at numerous points it bears the In 1631 the Medici inherited the armory of Barberini blazon of bees. the dukes of Urbino. From this armory came Ihe harnesses of Queen Elizabeth's cour­ the right shoulder piece of a magnificent pag­ tiers always attract attention, not only because eant armor of pseudo-Roman style (fig. 7). they represent a brilliant period in English This element, in the form of a monster's head, history, but because of their splendid work­ is similar to those which appear on numerous manship. The armor of Henry Herbert (1534?- stone portrait sculptures of the Renaissance 1601), second earl of Pembroke, was made in and is believed to have been made by Bar- the royal armory at Greenwich and, like the tolomeo Campi, goldsmith, engraver, and Montmorency armor already described, came armorer of Pesaro, Venice, and Paris, for from Wilton House. Henry was the son of Guidobaldo II of Rovere-Montefeltro (151.4- William, the first earl, and Anne, sister ol 1574), Duke of Urbino. It was this Guidobaldo Catherine Parr, the last of Henry VIII's who presented to Charles V the armor in the queens. His wife, Mary, was a sister of Sir classical style, dated 1546 and signed by Campi, Philip Sidney. Sidney wrote his Arcadia at that is now in the Royal Armory in Madrid. Wilton, and many other of the greatest fig­ In 1547 Campi was court armorer to Charles V ures of the period are associated with the house and directed the festivals at Pesaro in honor —Queen Elizabeth, James I, Edmund Spenser, of the marriage of Guidobaldo II and Vittoria and, notably, Shakespeare. The first folio edi­ Farnese. Other elements of the armor to which tion of Shakespeare, published in 1623, was our shoulder piece belongs are in the Bargello, dedicated to two of Henry's sons, Philip and Florence, and the Wallace Collection, London, William, the third earl. The Pembroke armor while its superb helmet is in the Hermitage at (fig. 22) is decorated with etched and gilded Leningrad. In the Kunsthistorisches Museum, bands enclosing trophies and heraldic arms Vienna, there is a small portrait by an that form an integral feature of the decora- tive scheme and epitomize the history of the colored armor virtually as it appeared in the great Pembroke family. The inclusion of the sixteenth century. Its etched and gilded deco­ Garter in the motifs dates the suit after the ration includes emblems of the Tudor family- year 1574, when the earl was knighted. The open cinquefoil roses, separated by fleurs-de-lis armor, together with its exchange pieces, is and connected by true-lovers' knots—and the illustrated in an armorer's album of the time cipher of Queen Elizabeth appears on every of Elizabeth, now in the Victoria and Albert element. Its alert posture emphasizes the preci­ Museum. The drawings in this album, exe­ sion with which the lames fit one another, and cuted in pen and ink and water colors, repre­ its graceful outlines give it an instant appeal. sent twenty-nine full suits, with supplemental The armor is entirely homogeneous with the pieces for tilting, belonging to prominent exception of the left gauntlet, which is similar nobles and captains of Elizabeth's reign. in style and workmanship but belongs to the The best-preserved Elizabethan armor in armor of Henry, Prince of Wales (son of existence (fig. 23) is that of George Clifford James I and brother of Charles I), now at (1558-1605), third earl of Cumberland, which Windsor Castle. came from Appleby Castle, the home of Lord The shield in figure 21 is delicately etched Hothfield, a descendant of the Cumberlands. with interlaced arabesques and figures of For­ George Clifford, one of the most distinguished tune, Justice, and Strength, the same pattern knights of Queen Elizabeth's reign, was among as that on the armor of Sir John Smythe (1534- the peers who sat in judgment on Mary, Queen 1607) in the Tower of London. Sir John, an of Scots. Of him, a generation later, Thomas Elizabethan soldier and military writer and Fuller said, "He was as merciful as valiant through his mother a first cousin of Edward VI, (the best metal bows best) and left impres­ was knighted in 1576. Reported to Elizabeth sions of both in all places where he came." for treason, he was imprisoned in the Tower His armor, which appears in a miniature from 1596 to 1598. by Nicholas Hilliard, as well as in the armorer's On the basis of historical association and album mentioned above, was in all likelihood of artistic merit, the armor reviewed here ranks made at the Greenwich royal armory after he with many of the finest harnesses of royal had succeeded Sir Henry Lee as the queen's per­ and noble personages and great captains in sonal champion in 1590. The Cumberland har­ European national collections. ness is one of the few suits that enable us to see STEPHEN V. GRANCSAY. i. Etched and gilded harness of Galiot de Genouilhac. French or Italian, dated 1527. 2. Parade helmet made for Henry II of France (1518-1559) or for Cosimo de' Medici the Great (1519-1574)- French or Italian, 1550. 3. Casque embossed by the celebrated armorer Philip de Negroli and probably made for Francis I. Italian (Milanese), dated 1543. 4. Embossed parade shield of Henry II of France, French or Italian, 1555. 5- Embossed parade armor of Henry II of France. French or Italian, 1550. 6 7 Helmet of the harness on the opposite page, and a pauldron from the parade armor, Italian, ,535. of Guidobaldo II, Duke of Urbino. 8. Harness of Anne de Montmorency, Constable of France. Italian, 1555. J. Embossed and damascened parade cabasset. Italian (Milanese), 1555. io. Parade shield representing the surrender of the Elector of Saxony to the Emperor Charles V. It belongs with the cabasset on the opposite page. ii. Engraved and gilded harness of Taddeo Barberini. Italian, 1635. 12. Shield bearing the heraldic arms of Saxony. German (Saxon), 1475. I

,3. Armor attributed to Frederick of Saxony. German (Augsburg), 1510. 14. Elements of puffed and slashed armor of Prince George Radziwill, German (Augsburg), 1 585. 15- Harness of Albrecht V, Duke of Bavaria. German (Nuremberg), dated 1549. i6. Armor for man and horse. German (Nuremberg), dated 1548. The horse armor belonged to Johann Ernst, Duke of Saxony, the suit to a member of the house of Liechtenstein. i7. Helmet of the State Guard of the Elector Christian II of Saxony. German, 1600. i8. Half-suit of the Elector Christian I of Saxony. German (Augsburg), 1591. 19, 20. Pate defense made for Maximilian II and a tasset from a harness of Charles V. German (Augsburg), 1549 and 1545. 21. Shield of Sir John Smythe. German (Augsburg), 1580. 22. Harness of Henry Herbert, second earl of Pembroke. English (Greenwich), 1580. 23- Harness of George Clifford, third earl of Cumberland. English (Greenwich), 1590-1592. i-i- Parade casque of Louis XIV. French, about 1700. 25. Parade shield of Louis XIV. French, about 1700. METROPOLITAN MUSEUM PICTURE BOOKS AND A SELECTION OF OTHER ILLUSTRATED BOOKS

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