School Picture Sei Number 10

KNllHTSj^ARMOR

THE METROPOLITAN MUSEUM OF ART KNIGHTS IN ARMOR

The knight was a warrior on horseback. He and his men had to fight for their liege lord when­ ever their services were demanded. In return the knight received a grant of land or special privi­ leges to provide for the cost of his armor, the care of his horse, and the upkeep of his household and retinue. He was considered a member of the nobility and obeyed the code of ethics which we call chivalry. Thus a knight should be loyal, courageous, and courteous as well as skilled in all the arts of war.

His obligations to his lord and his own sense of honor brought him into many conflicts. He fought in major wars and countless minor ones. As a Crusader he "took the cross" and journeyed to the Holy Land to fight the infidels. As a champion of the wronged or to settle a point of honor, he challenged another knight in single combat. In quest of adventure he wandered about strange lands as a knight errant. When times were peace­ ful, he kept in training by fighting in jousts and tournaments. In these enclosed pictures you will see the vari­ ous activities of the knight, as well as some of his weapons and the armor that provided the pro­ tection he needed.

THE METROPOLITAN MUSEUM OF ART 1. NORMAN CONQUEST Detail, Bayeux embroidery French, Late 11th Century Bayeux

THE METROPOLITAN MUSEUM OF ART

In the time of William the Conqueror, knights seem to have worn armor of rings sewed on heavily padded garments, conical helmets, and carried javelins, swords, and kite-shaped shields. Notice that the dead are already being despoiled of their armor, a valuable prize of battle. 2. SUIT OF MAIL. German, 14th century. Cru­ saders wore such suits of armor. The links of steel provided adequate protection against pointed weapons. A padded garment worn underneath softened the shock of direct blows.

THE METROPOLITAN MUSEUM OF ART 3. DUBBING OF A KNIGHT. German manuscript, 15th century. The Spencer Collection, New York Public Library. The final ceremony in the con­ ferring of knighthood was the dubbing, when the young squire received the sword blow on the shoulder. Here the Emperor himself is giving the blow.

THE METROPOLITAN MUSEUM OF ART 4. GILDED SPURS. French, 14th and 15th century. Gilded spurs were the emblem of knighthood, and every young boy strove to earn his spurs. These are elaborately fashioned, the rowels, or wheels, cut in intricate patterns.

THE METROPOLITAN MUSEUM OF ART 5. A KNIGHT DOING HOMAGE. English manu­ script, 13th century. Over the shirt of mail, or hauberk, was worn a surcoat of cloth decorated with the heraldic device of the knight. This was the proper attitude for a vassal to assume before his lord when doing homage.

THE METROPOLITAN MUSEUM OF ART 6. MEDIAEVAL SIEGE French manuscript 13th Century Morgan Library, New York City

THE METROPOLITAN MUSEUM OF ART

Photograph courtesy of Cambridge University Press The defenders are making a sortie from the castle gate to break up the attack of the besiegers. Both sides wear armor of mail. A catapult has been brought up to hurl a round stone against the walls. 7. WAR HAMMER mm* German, 15th Century

KNIGHTLY SWORDS French, Italian 15th Century

THE METROPOLITAN MUSEUM OF ART

The war hammer used with full force could crush even the best armed man, and was particularly favored by warlike churchmen, who could thereby evade the rule against "taking the sword." To the knight, however, the sword was the noblest of weapons. It took a strong arm to wield its heavy blade. Notice how the swords, axe, and mace are used in figure 6. 8. SUIT OF ARMOR. Italian, about 1400. In the time of loan of Arc plate armor had already replaced mail. The helmet, called a basinet, had a pointed bowl and visor, causing blows to glance off. A shirt of mail was worn under a brigandine, a jacket lined with steel plates.

THE METROPOLITAN MUSEUM OF ART 9. SUIT OF "GOTHIC" ARMOR. Italian, about 1460. The steel plates were so flexibly jointed that the wearer could move freely; its polished sur­ faces easily deflected blows. The entire suit weighs about sixty-five pounds.

THE METROPOLITAN MUSEUM OF ART 10. THE ARMING OF HECTOR. Flemish tapestry, detail. 1472-1474. Although Hector of Troy was a hero of ancient times, he is shown here as a mediaeval knight. It was customary for an atten­ dant to help put on the armor. Notice the laces, or points, which fastened the armor securely to the garments worn beneath.

THE METROPOLITAN MUSEUM OF ART 11. A JOUST English manuscript 15th Century British Museum, London

MUSEUM OF ART THE METROPOLITAN

By Courtesy ol the Trustees of the British Museum Here two knights are tilting at the barrier with their blunt-headed lances ready for the encounter. The winner will be the one who breaks the most lances by well-directed blows on his opponent's armor, or unhorses him. 12. JOUSTING ARMOR FOR MAN AND HORSE. German, about 1500. In the joust the helmet and breastplate were the chief targets, as it was against the rules to hit below the saddle. These parts were so heavily reinforced — the helmet alone weighted twenty-five pounds—that they had to be securely bolted. (See figs. 11 and 13).

THE METROPOLITAN MUSEUM OF ART 13. JOUSTING EQUIPMENT FOR MAN AND HORSE. Drawing from a tournament manuscript. German, 16th century. The trappings of the horses, the crests and shields added to the color and gaiety of a tournament. Such elaborate crests on helmets served to identify the knight, but in addi­ tion his device was painted on his shield. The horse was also rigged for the occasion with vel­ vets and brocades. It was blindfolded by its head­ piece, or chamfron, so it would not shy and spoil the rider's aim.

THE METROPOLITAN MUSEUM OF ART 14. SADDLE Possibly German About 1400

THE METROPOLITAN MUSEUM OF ART

This saddle of wood covered with staghorn was too fragile to have been used in battle. With its carving of figures and decorative designs, it added a note of elegance to the rich display in triumphs and tournaments. 15. CROSSBOW, BOLTS AND WINDER. German, 17th century. Crossbows were usually the weap­ ons of the infantry, for the knights preferred to fight with the sword. This 17th-century example is constructed very much like the mediaeval bows. Its heavy bolts were shot with great force, and after each shot the bow was bent and the string set with the winder here illustrated.

THE METROPOLITAN MUSEUM OF ART 16. CROSSBOWMAN. Woodcut after a 15th-cen­ tury Flemish manuscript. The archer, with his foot in the stirrup to steady the bow, has slipped a eric, or winder, over the stock. By this means he bends the bow by drawing the string taut until it catches in a notch.

THE METROPOLITAN MUSEUM OF ART 17. AN ATTACK WITH CANNONS French manuscript 15th Century Royal Library, Brussels

THE METROPOLITAN MUSEUM OF ART

Gunpowder was introduced in the 14th century, and was eventually to bring to an end the era of the walled town and the knight in armor. Notice the early cannons mounted on wooden carriages, the round balls, and the ladder used to scale the walls. The soldiers wear plate armor and brigandines.