As a subject for careful study and exhaustive investigation perhaps no detail of human existence can be examined with quite the same completeness as can the defensive armour and weapons of past ages. Most departments of Literature, Science, and Art are still living realities; each is still developing and is subject to evolution as occasion demands; and for this reason our knowledge of these subjects cannot be final, and our researches can only be brought, so to speak, up to date. The Defensive Armour of Europe, however, has its definite limitations so surely set that we can surround our investigations with permanent boundaries, which, as far as human mind can judge, will never be enlarged. We can look at our subject as a whole and can see its whole length and breadth spread out before us. In other aspects of life we can only limit our studies from day to day as invention or discovery push farther their conquering march; but, in dealing with the armour of our ancestors, we know that although we may still indulge in theories as to ancient forms and usages, we have very definitely before us in the primitive beginnings, the gradual development, the perfection, and the decadence or passing away, an absolutely unique progression and evolution which we can find in no other condition of life.

The survival of the fittest held good of defensive armour until that very fitness was found to be a source rather of weakness than of strength, owing to changed conditions of warfare; and then the mighty defences of steel, impervious to sword, lance, and arrow, passed away, to remain only as adjuncts of Parade and Pageant, or as examples in museums of a lost art in warfare and military history. As an aid to the study of History our interest in armour may be considered perhaps rather sentimental and romantic than practical or useful. But, if we consider the history of the Art of War, we shall find that our subject will materially assist us, when we remember that the growth of nations and their fortunes, at any rate till recent times, have depended to a large extent on the sword and the strength of the arm that wielded it.

There is another aspect of historical study which is of some importance, especially to those who stand on the outskirts of the subject. This aspect one may call the ‘realistic view’. The late Professors York Powell and J. R. Green both insisted on the importance of this side of the subject; and we cannot but feel that to be able to visualize the characters of history and to endow them with personal attributes and personal equipment must give additional interest to the printed page and other documentary evidences. When the study of defensive armour has been carefully followed we shall find that the Black Prince appears to us not merely as a name and a landmark on the long road of time; we shall be able to picture him to ourselves as a living individual dressed in a distinctive fashion and limited in his actions, to some extent, by that very dress and equipment. The cut of a surcoat, the hilt of a sword, the lines of a breastplate, will tell us, with some degree of accuracy, when a man lived and to what nation he belonged; and, at the same time, in the later years, we shall find that the suit of plate not only proclaims the individuality of the wearer, but also bears the signature and individuality of the maker; a combination of interests which few works of handicraft can offer us.

From the eleventh to the end of the fourteenth century we have but a few scattered examples of actual defensive armour and arms; and the authenticity of many of these is open to doubt. The reason for this scarcity is twofold. Firstly, because the material, in spite of its strength, is liable to destruction by rust and corrosion, especially when the armour is of the interlinked chain type which exposes a maximum surface to the atmosphere. A second reason, of equal if not greater importance, is the fact that, owing to the expense of manufacture and material, the various portions of the knightly equipment were remade and altered to suit new fashions and requirements. Perhaps still another reason may be found in the carelessness and lack of antiquarian interest in our ancestors, who, as soon as a particular style had ceased to be in vogue, destroyed or sold as useless lumber objects which to-day would be of incalculable interest and value.

For these reasons, therefore, we are dependent, for the earlier periods of our subject, upon those illuminated manuscripts and sculptured monuments which preserve examples of the accoutrements of the twelfth and thirteenth centuries. Of these, as far as reliability of date is concerned, the incised monumental brasses and sculptured effigies in our churches are the best guides, because they were produced shortly after the death of the persons they represent, and are therefore more likely to be correct in the details of dress and equipment; and, in addition, they are often portraits of the deceased.

Illuminated manuscripts present more difficulty. The miniature painter of the period was often fantastic in his ideas, and was certainly not an antiquary. Even the giants of the Renaissance, Raphael, Mantegna, Titian, and the rest, saw nothing incongruous in arming St. George in a suit of Milanese plate, or a Roman soldier of the first years of the Christian epoch in a fluted breastplate of Nuremberg make. Religious and historical legends were in those days present and living realities and, to the unlearned, details of antiquarian interest would have been useless for instructive purposes, whereas the garbing of mythical or historical characters in the dress of the period made their lives and actions seem a part of the everyday life of those who studied them.

This being the case, we must use our judgement in researches among illustrated manuscripts, and must be prepared for anachronisms. For example, we find that in the illustrated Froissart in the British Museum, known as the ‘Philip de Commines’ copy,[1] the barrier or ‘tilt’ which separated the knights when jousting is represented in the Tournament of St. Inglevert. Now this tournament took place in the year 1389; but Monstrelet tells us[2] that the tilt was first used at Arras in 1429, that is, some forty years after. This illustrated edition of Froissart was produced at the end of the fifteenth century, when the tilt was in common use; so we must, in this and in other like cases, use the illustrations not as examples of the periods which they record, but as delineations of the manners, customs, and dress of the period at which they were produced.

The different methods of arming were much the same all over Europe; but in England fashions were adopted only after they had been in vogue for some years in France, Italy, and Germany. We may pride ourselves, however, on the fact that our ancestors were not so prone to exaggeration in style or to the over-ornate so-called decoration which was in such favour on the Continent during the latter part of the sixteenth and the first half of the seventeenth centuries.

For a fuller study of this subject Sir Samuel Meyrick’s great work on Ancient Armour is useful, if the student bears in mind that the author was but a pioneer, and that many of his statements have since been corrected in the light of recent investigations, and also that the Meyrick collection which he so frequently uses to illustrate his remarks is now dispersed through all the museums of Europe. Of all the authorities the most trustworthy and most minute and careful in both text and illustrations is Hewitt, whose three volumes on Ancient Armour have been the groundwork of all subsequent works in English. Some of the more recent writers are prone to use Hewitt’s infinite care and research without acknowledging the fact; but they have very seldom improved upon his methods or added to his investigations. For the later periods, which Hewitt has not covered so fully as he has the earlier portion of his subject, the Catalogues RaisonnÉs of the various museums of England and Europe will assist the student more than any history that could possibly be compiled.