FIFTEENTH CENTURY ARMOUR.

As the fifteenth century advanced the wars of the Roses gave urgent reason for attention to the subject of defensive armour; and we find, accordingly, that the fashions of armour underwent many modifications, in the attempt to give the wearer more perfect protection for life and limb. It would be tedious to enter into the minute details of these changes, and the exact date of their introduction; we must limit ourselves to a brief history of the general character of the new fashions. The horizontal bands of armour called taces, depending from the corslet, became gradually narrower; while the pieces which hung down in front of the thighs, called tuilles, became proportionately larger. In the reigns of Richard III. and Henry VII. the knightly equipment reached its strangest forms. Besides the usual close-fitting pieces which protected the arms, the elbow-piece was enlarged into an enormous fan-like shape that not only protected the elbow itself, but overlapped the fore arm, and by its peculiar shape protected the upper arm up to the shoulder. The shoulder-pieces also were strengthened, sometimes by several super-imposed overlapping plates, sometimes by hammering it out into ridges, sometimes by the addition of a passe garde—a kind of high collar which protected the neck from a sweeping side blow. The breastplate is globular in shape, and often narrow at the waist; from it depend narrow taces and tuilles, and under the tuilles we often find a deep skirt of mail. When broad-toed shoes came into fashion, the iron shoes of the knight followed the fashion; and at the same time, in place of the old gauntlet in which the fingers were divided, and each finger protected by several small plates of metal, the leather glove was now furnished at the back of the hand with three or four broad over-lapping plates, like those of a lobster, each of which stretched across the whole hand. These alterations may have added to the strength of the armour, but it was at the cost of elegance of appearance. A suit of armour embossed with ornamental patterns, partially covered with a blue mantle, may be seen in the fifteenth-century Book of Hours, Harl. 5,328, f. 77.

In the time of Henry VIII., in place of the taces and tuilles for the defence of the body and thighs, a kind of skirt of steel, called lamboys, was introduced, which was fluted and ribbed vertically, so as to give it very much the appearance of a short petticoat. Henry VIII. is represented in this costume in the equestrian figure on his great seal. And a suit of armour of this kind, a very magnificent one, which was presented to the king by the Emperor Maximilian on the occasion of his marriage to Katharine of Arragon, is preserved in the Tower armoury. A good sketch of a suit of this kind will be seen in one of the pikemen—the fifth from the right hand—in the nearest rank of the army in the engraving of King Henry VIII.’s army, which faces page 455. The armour of this reign was sometimes fashioned in exact imitation of the shape of the ordinary garments of a gentleman of the time, and engraved and inlaid in imitation of their woven or embroidered ornamentation.

In the tournament armour of the time the defences were most complete, but unwieldy and inelegant. The front of the saddle had a large piece of armour attached, which came up to protect the trunk, and was bent round to encase each thigh. A clearly drawn representation of this will be found in a tilting scene in the illumination on f. 15 v. of the MS. Add. 24,189, date circa 1400 A.D. There are several examples of it in the Tower armoury. The shield was also elaborately shaped and curved, to form an outer armour for the defence of the whole of the left side. Instead of the shield there was sometimes an additional piece of armour, called the grand garde, screwed to the breastplate, to protect the left side and shoulder; while the great spear had also a piece of armour affixed in front of the grasp, which not only protected the hand, but was made large enough to make a kind of shield for the right arm and breast. There was also sometimes a secondary defence affixed to the upper part of the breastplate, which stood out in front of the face. These defences for thigh and breast will be observed in the woodcut of the “playing at tournament,” on p. 408; and in the combat of the Earl of Warwick, p. 418, will be seen how the grande garde is combined with the volante piece which came in front of the face. Behind such defences the tilter must have been almost invulnerable. On the other hand, his defences were so unwieldy that he must have got into his saddle first, and then have been packed securely into his armour; and when there, he could do nothing but sit still and hold his spear in rest—it seems impossible for him even to have struck a single sword stroke. James I.’s remark on armour was especially true of such a suit: “It was an admirable invention which preserved a man from being injured, and made him incapable of injuring any one else.”

Combat on Foot.

There are several very good authorities for the military costume of the reign of Henry VIII. easily accessible to the student and artist. The roll preserved in the College of Arms which represents the tournament held at Westminster, A.D. 1510, in honour of the birth of the son of Henry and Katharine of Arragon, has been engraved in the “Vetusta Monumenta.” The painting of the Field of the Cloth of Gold at Hampton Court is another contemporary authority full of costumes of all kinds. The engravings of Hans Burgmaier, in the Triumphs of Maximilian and the Weise KÖnige contain numerous authorities very valuable for the clearness and artistic skill with which the armour is depicted. We have given an illustration, on the preceding page, reduced from one of the plates of the latter work, which represents a combat of two knights, on foot. The armour is partly covered by a surcoat; in the left-hand figure it will be seen that it is fluted. The shields will be noticed as illustrating one of the shapes then in use.

But our best illustration is from a contemporary drawing in the British Museum (Aug. III., f. 4), which represents Henry VIII.’s army, and gives us, on a small scale, and in very sketchy but intelligible style, a curious and valuable picture of the military equipment of the period. We have two armies drawn up in battle array, and the assault is just commenced. The nearer army has its main body of pikemen, who, we know from contemporary writers, formed the main strength of an army at this time, and for long after. In front of them are two lines of arquebusiers. Their front is protected by artillery, screened by great mantelets of timber. The opposing army has similarly its main body of pikemen, and its two lines of arquebusiers; the first line engaged in an assault upon the enemy’s artillery. On the left flank of its main body is the cavalry; and there seems to be a reserve of pikemen a little distance in the rear, behind a rising ground. Tents pitched about a village represent the head-quarters of the army, and baggage waggons on the left of the picture show that the artist has overlooked nothing. A fortress in the distance seems to be taking part in the engagement with its guns.

There are other similar pictures in the same volume, some of which supply details not here given, or not so clearly expressed. At folio 1 are two armies, each with a van of musketeers three deep, a main body of pikemen eleven deep, and a third line of musketeers three deep. The cavalry are more distinctly shown than in the picture before us, as being men-at-arms in full armour, with lances. At folio 3 the drummers, fifers, and baggage and camp followers are shown.

In the Weise KÖnige,[399] on plate 44, is a representation of a camp surrounded by the baggage waggons; on plates 91 and 96 a square fort of timber in the field of battle; on plates 57, 84, &c., are cannons surrounded by mantelets, some of wicker probably filled with earth; on plate 60 is a good representation of a column of troops defiling out of the gate of a city.

The following account, from Grafton’s Chronicle, of the array in which Henry VIII. took the field when he marched to the siege of Boulogne, will illustrate the picture:—

“The xxj. day of July (1513), when all thinges by counsayle had bene ordered concernyng the order of battaile, the king passed out of the town of Calice in goodly array of battaile, and toke the field. And notwithstandyng that the forewarde and the rerewarde of the kinges great armye were before Tyrwin, as you have heard, yet the king of his own battaile made three battailes after the fassion of the warre. The Lord Lisle, marshall of the hoste, was captain of the foreward, and under him three thousand men; Sir Rychard Carew, with three hundred men, was the right-hand wing to the foreward; and the Lord Darcy, with three hundred men, was wing on the left hande; the scowrers and fore-ryders of this battaile were the Northumberland men on light geldings. The Erle of Essex was lieutenaunt-generall of the speres, and Sir John Pechy was vice-governour of the horsemen. Before the king went viij. hundred Almaynes, all in a plump by themselves. After them came the standard with the red dragon, next the banner of our ladie, and next after the banner of the Trinitie: under the same were all the kinges housholde servauntes. Then went the banner of the armes of Englande, borne by Sir Henry Guilforde, under which banner was the king himselfe, with divers noblemen and others, to the number of three thousand men. The Duke of Buckyngham, with sixe hundred men, was on the kinges left hande, egall with the Almaynes; in like wise on the right hande was Sir Edward Pournynges, with other sixe hundred men egall with the Almaynes. The Lord of Burgoynie, with viij. hundred men, was wing on the right hande; Sir William Compton, with the retinue of the Bishop of Winchester, and Master Wolsey, the king’s almoner,[400] to the number of viij. hundred, was in manner of a rereward. Sir Anthony Oughtred and Sir John Nevell, with the kinges speres that followed, were foure hundred; and so the whole armie were xj. thousand and iij. hundred men. The Mayster of the Ordinaunce set forth the kinges artillerie, as fawcons, slinges, bombardes, cartes with powder, stones, bowes, arrowes, and suche other thinges necessary for the fielde; the whole number of the carriages were xiij. hundreth; the leaders and dryvers of the same were xix hundreth men; and all these were rekened in the battaile, but of good fightyng men there were not full ix. thousande. Thus in order of battayle the king rode to Sentreyla.”

Pikeman.

A little after we have a description of the king’s camp, which will illustrate the other pictures above noted.

“Thursedaie, the fourth daye of Auguste, the king, in good order of battaile, came before the city of Tyrwyn, and planted his siege in most warlike wise; his camp was environed with artillerie, as fawcons, serpentines, crakys, hagbushes, and tryed harowes, spien trestyles, and other warlike defence for the savegard of the campe. The king for himselfe had a house of timber, with a chimney of iron; and for his other lodgings he had great and goodlye tents of blewe waterworke, garnished with yellow and white, and divers romes within the same for all officers necessarie. On the top of the pavalions stoode the kinges bestes, holding fanes, as the lion, the dragon, the greyhound, the antelope, the Done Kowe.[401] Within, all the lodginge was paynted full of the sunnes rising: the lodginge was a hundred xxv. foote in length.”

At folio 5 of the MS. already referred to (Aug. III.) is a connected arrangement of numerous tents, as if to form some such royal quarters. But at folio 8 are two gorgeous suites of tents, which can hardly have been constructed for any other than a very great personage. One suite is of red, watered, with gold ornamentation; the other is of green and white stripes (or rather gores), with a gilded cresting along the ridge, and red and blue fringe at the eaves.

Our next engravings are from coloured drawings at f. 9, in the same MS., and respectively represent very clearly the half-armour worn by the pikeman and the arquebusier, and the weapons from which they took their name.

In the reign of Elizabeth and James I. armour was probably very little worn; but every country knight and esquire possessed a suit of armour, which usually hung in his hall over his chair of state, surrounded by corslets and iron hats, pikes and halberts, cross-bows and long-bows, wherewith to arm his serving-men and tenants, if civil troubles or foreign invasion should call the fighting-men of the country into the field.[402] The knights and esquires of these times are also commonly represented in armour, kneeling at the prayer-desk, in their monumental effigies. The fashion of the armour differs from that of preceding reigns. The elaborate ingenuities of the latter part of the fifteenth century have been dispensed with, and the extravagant caprices also by which the armour of Henry VIII.’s time imitated in steel the fashion of the ordinary costume of the day are equally abandoned. The armour is simply made to fit the breast, body, arms, and legs; the thighs being protected by a modification of the tuilles in the form of a succession of overlapping plates (tassets or cuisses) which reach from the corslet to the knee.

Arquebusier.

The civil war of the Great Rebellion offers a tempting theme, but we must limit ourselves to the notice that few, except great noblemen when acting as military leaders, ever wore anything like a complete suit of armour. A beautiful suit, inlaid with gold, which belonged to Charles I., is in the Tower armoury. But knights are still sometimes represented in armour in their monumental effigies. A breast and back-plate over a leather coat, and a round iron cap, were commonly worn both by cavalry and infantry.

In the time of Charles II. and James II., and William and Mary, officers still wore breastplates, and military leaders were sometimes painted in full armour, though it may be doubted whether they ever actually wore it. As late as the present century, officers, in some regiments at least, wore a little steel gorget, rather as a distinction than a defence. But even yet our horse-guards remain with their breast and back-plates and helmets, and their thick leather boots, to show us how bright steel and scarlet, waving plumes and embroidered banners, trained chargers and gay trappings, give outward bravery and chivalric grace to the holiday aspect of the sanguinary trade of war.

THE MERCHANTS OF THE MIDDLE AGES.