N.P. Biskup
In the Middle Ages, mail was the most common form of protection, which was gradually complemented with metal plates for some particularly vulnerable body parts. The 15th century turned out to be the turning point for all types of arms, for a suit of armour made its appearance.
The bulk of the State Hermitage collection consists of suits of armour dating back to the 15th- early 17th centuries. It was Italy and Germany that maintained a steady superiority in arms manufacturing at that period of time.
Such centres as Nuremberg and Augsburg were famous for armour manufacture. The 15th century saw the preeminence of the so called Gothic style in the armour making. The armour on display in the Knights’ Room was made by the German armourer Lorenz (Helmschmid) Colman. Contrary to the established opinion, the weight of this type of armour was light, varying from 16 kg to 23 kg, and thus did not restrict the knight’s movements. According to some sources, the Hundred Years’ War hero, Marshal Boucicault, “jumped in full armour except for a bascinet (helmet), danced in a steel cuirass, jumped on a horse in a full suit of armour, without putting his foot into a stirrup”.
In late 15th century, knight suits of armour served as examples of elegance and proportion; neither earlier nor later were the requirements for the armour beauty and comfort so rigid. This is the time when the development of plate armour reached its peak.
Maximilian I exerted a profound influence on the development of early armours of the Renaissance period. According to legend, he conceived the idea of armour decorated with heavy fluting, which became known as the”Maximilian armour “produced in Nuremberg, Germany. Fluting triggered the design of stiffening ribs, since they enabled one to reinforce armor, without adding weight to it. Although such suits of armour would weigh around 24-26 kg, this kind of defensive arms demonstrates the peak reached by armour-making reached during this period. Due to the jousting contest development, a particular kind of armour designed for various contests made its appearance. The so called Stechzeug armour of the 15th century designed for spear fighting weighed around 50 kg so that the knight wearing it could not even mount a horse by himself. The distinctive feature of this suit of armour was a heavy Frog Mouth Helmet secured to the screws at the front. The armour weight was distributed in such a way that its bulk fell on the saddle.
On view in the Knights’ Room display is another version of the jousting armour made by the celebrated Augsburg master Anton Peffenhauser known as “the king of gunsmiths”. This is one of a set of twelve half-suits of armour commissioned by Sophie von Brandenburg, the wife of Prince-Elector Christian I of Saxony. It was for use in foot combat between contestants separated by a barrier, which made leg armour unnecessary.
Besides Augsburg, armours of remarkable workmanship were produced in Nuremberg as well. Of particular note is Valentine Zibenburger, whose works are exhibited in the Knights’ Room.
During the 16th century plate armours enjoyed great popularity, being extensively used not only in war and tournament, but also during festivals and celebrations, thus becoming richly decorated “clothes”. The Museum collection possesses an example of such armour, reproducing a costume from the first half of the 16th century with puff sleeves and relief ridges in imitation of pants vent. Warhorses were also covered by metal plates. While initially consisting of separate elements, horse armour had been fully formed by the 15th century and included a headband, a neck and chest defence (forburg) and a crupper (heliger). Sometimes matching sets of armour were made for horse and rider.
Italy was also renowned as one of the main arms and armour production centres. The 16th century witnessed the production boom of not only armour worn on the battlefield, but also of parade armour richly decorated with etched, carved and chased designs. Their characteristic features were Renaissance grotesque ornaments, decorative patterns and multi-figure compositions. Such armours performed not only a protective function but also served as a ceremonial dress testifying to the wealth and noble origin of their owners. The masters who decorated the armours used special pattern books containing ornaments created by foremost artists.
Milan established its preeminence in arms manufacturing in Italy. Italians were famous for being skilled metalworkers, etchers and carvers. A large number of their works are genuine masterpieces of decorative and applied arts, exemplified by a shield, helmet and vambrace of the set which once belonged to Commander Sforza Pallavicino, Marquis Cortemaggiore and Busetto. They depict a seven-headed Hydra with an inscribed motto "Utcumque" (“For Better or Worse”).
Among the Milanese armourers a prominent place was occupied by the Negroli family nicknamed the Missaglia family after the birthplace of the workshop founder. The Hermitage collection contains some works by Milanese master Filippo Negroli, a member of the Missaglia family. One of the gems of the collection is a parade helmet of Guidobaldo della Rovere, duke of Urbino in the shape of a fantastic creature’s head. It is an element of the armour to be found in Florence and London and dated between 1532 and 1535. The helmet represents the head of the fantastic creature surmounted by a dragon. The fine execution of the elements, minutely detailed embossing, general balance and clear proportions attest to the incomparable technical skill of the Milanese master.
From the same workshop came a jester’s helmet executed as a mockery of the preceding helmet, its burgonet imitating a head of curly hair, as well as a cuirass in the form of antique armour. This armour in the form of a cuirass, gained popularity in the Renaissance period, when Western Europe rediscovered antiquity and the arts reflected a profound interest in Greek and Roman motifs.
Speaking about armour, one cannot but mention such defensive arms as a brigandine, a form of armoured jacket which consisted of small steel lames riveted to leather or thick cloth, with a textile cover (velvet or silk) on top. Being light and convenient, this early type of armour was widely used in the 16th century, particularly by archers and crossbowmen. Richly embroidered and decorated, brigandines were the favourite clothing of Italian nobility. The Hermitage collection contains a complete set intended for the Venetian guard of honour comprising a brigandine with a red velvet cover, and a helmet terminating in the winged lion of St. Mark.
The Italian armourers rose to eminence in the art of embossing, many of their works distinguished for genuine technical virtuosity. Embossing was frequently complemented with damascening, blueing and gilding. Round shields (rondache) were sometimes embossed with multi-figured compositions. This is exemplified by a shield from the L. Piccinino workshop called “The Trial of Vestal Tuccia” who proved her innocence by carrying water in a sieve. The master achieves superlative artistry owing to the colour harmony, sharp outlines, play of light and shade, as well as the utmost clarity of compositional arrangement. Of particular note is the elaborate gold damascening.
The Knights’ Room also displays a unique wooden helmet with the image of Saint George executed by Genoese armourers. The wooden shield frame has canvas upholstery and is painted in oil. In the centre is an applied molding representing Saint George slaying a dragon with his sword. Large rock crystal beads are set into the shield.