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| Rodolfo Martínez wrote: |
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Do you know, then if the Italian style during this first half of XVI century, in someway stoped the production or something else? Because there aren´t many field armours of the italic style during this period. Thanks |
| Claude Blair wrote: |
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Most of the armour producing centres mentioned in the last chapter (Milan, Landshut, Innsbruck, Nuremberg, and Augsburg) continued to operate in the 16th century. In Milan, the Missaglias were supplanted in their position of pre-eminence by the Negroli who, although their name is always connected with the embossed decoration of armour, were also merchants carrying out an export trade in all types. A general falling-off in the quality of Italian armour occurred in the second half of the century and Milan finally took second place to the South German centres while, within Italy, an increasingly powerful challenge came from Brescia. During the same period the Negroli were, in their turn supplanted by Pompeo della Chiesa of Milan who likewise carried on a very considerable export trade. In Germany many great armourers were working during the 16th century: Lorenz Helmschmied, who did not die until 1516, was followed by his equally famous son Koloman (1471-1532), who was in turn followed by his son Desiderius (1513 - c. 1578). Other important German armourers who should be mentioned are Matthaus Frauenpreiss the Elder (ob. 1549) and Anton Peffenhauser (1525-1603), both of Augsburg, Kunz Lochner the Younger (c. 1510-1567) of Nuremberg and Wolfgang (ob. 1563) and Franz (ob. c. 1580) Grossschedel of Landshut. The style of armour in use during the first thirty years of the 16th century, and more particularly that decorated with vertical fluting is usually termed "Maximilian" by modern students, although there is no evidence to show that the Emperor was responisble for its introduction. With little doubt it was in fact produced by the fusion of the German and Italian styles described above (the fifteenth-century Italian and German, or "Gothic", styles), the main manifestations of which were the whole-hearted adoption by the Germans of the burly rounded Italian forms and the more limited adoption by the Italians of fluted decoration. Armours with smooth surfaces were however used as widely during the Maximilian period as the fluted type, and were indeed the most popular kind outside Germany. In Italy fluted armour seems to have gone out of fashion by c. 1520 but remained in regular use in Germany until the 1530's and is occasionally found even later |
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The two main "schools" that had the greatest influence on all European armorers were the Northern Italian and the German. The former was characterized by it smooth finish and round surfaces, while the latter was renowned for its Gothic styilization which showed particularly in elaborate curves ending in cusps, rippling, fluting, etc., and, when it reached its peak toward the end of the 15th century, in an elegant slenderness of line. Around the beginning of the 16th century there was a certain tendency for the two styles to blend, the typically rounded lines of the Italian armor being adopted in Germany while the German system of fluting was sometimes used in Italy. From about 1510-30 the so-called Maximilian style of armor came into use, although it was not to get this name until some 19th-century collectors decided that the style must have been introduced by the emperor Maximilian. Its characteristic features were large rounded shaped and radiating flutings on all surfaces except the leg armor. The later examples had quite narrow flutes, set close together. This style was widely used, especially in Germany, although fluted armor never superseded smooth-surfaced armor, which always remained more popular in the rest of Europe. Field armor A type of armor used by heavy cavalry in the 15th and 16th centuries. It was a complete suit of armor, matched by a horse armor with a steel-plated saddlebow giving additional protection to the horseman. Head protection consisted of a sallet with a separate bevor, an armet, or a close helmet; in the second half of the 16th century, a lighter helmet, the burgonet, with or without a bevor, was often preferred. |
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The characteristic styles of German and Italian armourers tended to no longer be so clear-cut and immediately recognizable; the Germans adopted rounded proportions reminiscent of Italian armour while the Italians began to employ structural features with technical innovations hitherto the province of their German rivals. Full armours of heavy plate continued to be produced throughout the sixteenth century, but increasingly their use became restricted to the tournament rather than battlefield. The two main centres of armour manufacture remained Italy and Germany, but to an increasing exent lesser centres managed to establish themselves, either to serve local or international need, or as a direct result of royal patronage by kings, princes and their courts anxious to emulate thier neighbours and impress the world at large. |
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| Head protection consisted of a sallet with a separate bevor, an armet, or a close helmet; in the second half of the 16th century, a lighter helmet, the burgonet, with or without a bevor, was often preferred. |
| Rodolfo Martínez wrote: | ||
Thanks Richard, you cleared the Italic style doubt, but the next quote is a bit confusing for me:
Weren´t burgonets most used by infantry, while heavy cavalry (Wich used it too) prefered close helmets during the second half of the XVI century? Thanks |
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burgonet A type of light helmet, worn by infantry and light cavalry in Europe from about 1520 to the end of the 16th century. An open helmet with a pointed peak, called the FALL, and a neck guard, the burgonet was fitted with hinged cheekpieces. The skull was generally made in two interlocking halves which were then rivetted and hammered together along the comb. In better-quality helmets, the skull was made of one plate. The basic shape of the skull was hemispherical, broken only by the comb which tended to assume more and more exaggerated proportions during the third quarter of the century. There were, however, some examples of ogival skulls, with or without a pointed "spur" on the apex. The fall projected from the skull over the face, and the neck guard projected over the nape, both being reinforced by a rim along their edges. The cheekpieces consisted of contoured plates, often shaped in the center to accomodate the ears, and pierced with ventilation holes. The cheekpieces, too, had border rims and could be closed under the chin with buckled straps. The closed type of burgonet often included a detachable BEVOR or buffe. In another style, the cheekpieces were enlarged to cover the face, thus forming the bevor. Two parts of the bevor were kept in closed poistion by a strap around the neck or by hasps and pierced lugs. The FALLING BUFFE, sometimes termed "Hungarian bevor", has two pivoted collapsible lames protecting the face; they could fall to open the face when retaining studs were pressed. A rare variation of the burgonet had a skull with a central comb flanked by a lower one on each side; it was nicknamed the "three-combed burgonet". During the first half of the 17th century, two types of burgonet resembled in appearance and construction the CLOSE HELMET with gorget plates. Both types had the bevor and one-piece visor pivoted on the sides of the skull (like early close helmets), but they were also provided with a burgonet peak (fall) atttached to the same side pivots. One of these types is often termed the "Savoyard" burgonet, its name deriving from the fact that it was standard issue to the men of the Duke of Savoy's army... Another burgonet resembling close helmets was also used with cuirassier armour... |
| Claude Blair wrote: |
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The headpiece par excellence of the infantry and light cavalry throughout the 16th century was the burgonet. In its most characteristic form this is a close-fitting open helmet - covering the cheeks but leaving the front of the face exposed - with a pointed peak (fall), sometimes pivotted at the sides. The cheekpieces are usually formed of separate plates, hinged at the rear and tied together with a thong at the chin, or, more rarely, overlapping and secured by a catch as on an armet. On a number of German and Flemish burgonets of the last quarter of the century the cheekpieces completely cover the face except for cut-outs over the eyes and occasionally over the nose and mouth. In addition to the buffe, or sometimes as an alternative to it, some burgonets have a barred face-guard, often detachable. Another form of headpiece in wide use from c. 1520 is usually classified as a close-helmet, although, in fact, it is a cross between a close-helmet and a burgonet. Its construction is that of a close-helmet but instead of visor and upper-bevor it has a fall and a falling-buffe that forms part of the bevor. |
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