THE METROPOLITAN MUSEUM OF ART COLLECTION OF ARMS AND ARMOR INCLUDING THE WIUIAM H.RTGGS DONATION MCMXXI Library of the University of jSorth Carolina Endowed by the Dialectic and Philan- thropic Societies r I THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES NK6602 A6 UNjVERSj jY OF N.C. AT CHAPEL HILL 00008836913 This book is due at the WALTER R. DAVIS LIBRARY on the last date stamped under "Date Due." If not on hold, it may be renewed by bringing it to the library. DATE DUE RETURNED DATE DUE RETURNED OCT 2 5 2013 - FORM NO 513, REV. 1/84 Digitized by the Internet Archive in 2014 https://archive.org/details/handbookofarnnsarOOmetr THE METROPOLITAN MUSEUM O F A RT HANDBOOK '^^ yn A OF ARMS AND ARMOR EUROPEAN AND ORIENTAL INCLUDING THE WILLIAM H. RIGGS COLLECTION BY BASHFORD DEAN NEW YORK MCMXXl Armures, perle des collections, orgueil des musees, reve caresse souvent en vain par tant d' amateurs. . . . Rien nest plus rare qutme armure ancienne, Paul Eudel, 1907 COPYRIGHT BY THE METROPOLITAN MUSEUM OF ART JANUARY, 1915 PLAN OF GALLERIES OF ARMOR TABLE OF CONTENTS PAGE List of Illustrations ix Handbook: I Introduction i II The Present Collection and its Arrangement 9 III Earliest Arms and Armor ... 20 IV Arms and Armor of the Bronze Age and Classical Antiquity . , 22 V The Early Centuries of the Chris- tian Era 32 VI Chain-Mail and Mediaeval Armor . 35 VII The Period of Transition from Chain - Mail to Plate - Armor (1200- 1 400) 42 VIII The Period of Plate-Armor and Fi re-Arms (1400- 1780) . . .45 A Armor of the Fifteenth Century 46 B Arms of the Fifteenth Century . 54 C Armor of the Maximih'an Period (1500- 1 5 30) 59 D Jousting Armor 63 E Arms of the Early Decades of the Sixteenth Century .... 67 vii Vlll TABLE OF CONTENTS PAGE F Armor of the Middle and Late Sixteenth Century .... 69 G Swords and Daggers of the Sec- ond Half of the Sixteenth Cen- tury 73 H Pole-Arms 75 I Bows, Arrows, and Crossbows . 78 J Fire-Arms of the Fifteenth to the Eighteenth Century ... 82 K Arms and Armor of the Seven- teenth Century 94 L Horse Equipment during the Six- teenth and Seventeenth Centu- ries 103 M Banners 104 IX Questions about Armor: Its Weight and Size 108 X Japanese Arms and Armor . . .113 A Armor 117 B Swords 127 C Pole-Arms 132 D Bows and Arrows 1 34 E Guns, Pistols, and Cannon . .135 F Horse Armor 1 36 XI Arms and Armor of the East: Arab (Saracenic), Turkish, Persian, In- dian, Chinese 138 List of Personages and Families whose arms, personal or state, are represented in the col- lection 147 Index of Names and Collections . . . 161 LIST OF ILLUSTRATIONS FACING PLATE PAGE Plan of Galleries of Armor . . v I Egyptian Predynastic Flint Sword. Babylonian Sword, xiv Century B.C 4 II Bronze Armor, Italic, vii (?) Cen- tury B.C 6 III Etruscan Chariot, vi Century B.C. lo IV Greek Warriors. From Andocides Vase, End of vi Century B.C. . . 12 V Roman and Dacian Soldiers. From Trajan's Column, 11 Century A.D. . 14 VI Prankish Soldier, vi Century A.D. After Gimbel 16 vii Prankish Soldier, ix Century. After Gimbel 18 VIII Norman and Saxon Armor, Late xi Century. After Bay eux "Tapestry " 20 IX Banded Mail WITH Shoulder Shield, 1274. After Gay 22 ix X LIST OF ILLUSTRATIONS FACING PLATE PAGE X Complete Chain-Mail, Late xiii Cen- tury (Brass of Sir John d'Auber- noun). After Hewitt .... 24 XI Hunting (or War) Horns, xi, xii, and XV Centuries. de Dino and Morgan Collections 26 XII "Ivory" Saddles, xiv, xv, and xvii Centuries, de Dino Collection . . 28 XIII Chess Figure, about 1350. Marble Relief, about 1300 30 XIV Transitional Armor of Guenther VON ScHWARZBURG, 1 350. After Hewitt 32 XV Armor Transitional from Chain to Plate, 1360. After Hewitt, from MS. "Meliadus" 34 XVI Early Plate - Armor, 1401. After brass of Sir Nicholas Dagworth . . 36 XVII Plate-Armor, 1421. After an Effigy of a Knight of the Family of Haber- korn 38 XVIII Gothic Armor, about 1435. After the brass of Roger Elmbrygge ... 40 XIX Armor of 1450. From one of the Caesar Tapestries (Bern). After Ju- binal 42 LIST OF ILLUSTRATIONS xi FACING PLATE PAGE XX Gothic Armor, Italian, about 1460. de Dino Collection 44 XXI Gothic Armor, about 1470. Stuy- vesant Collection 46 XXII Gothic Armor, about 1490. de Dino Collection 48 XXIII Maximilian Armor a Tonnelet, about 1 520. de Dino Collection . 50 XXIV Maximilian Armor, about 15 15. de Dino Collection 52 XXV Engraved and Gilded Armor OF Gal- lOT DE Genouilhac, dated 1527 . 54 XXVI Brigandines, End of xv and Middle of XVI Century. Riggs Collection. Af- ter Gay 56 XXVII Half-Armor Attributed to Charles DE Bourbon, 1520. Half-Armor of THE Duke of Alva, 1565. Riggs Collection 58 xxviii Half-Armor of the Duke of Sessa, about 1 560. de Dino Collection . 60 XXIX Half-Armor Made by Pompeo della Chiesa, about 1575. de Dino Col- lection 62 XXX Parade Armor, about 1590. Stuy- vesant Collection 64 XXXI Casque by the Milanese Armorer, Philip de Negroli, dated 1543. J. P. Morgan Collection 66 Xii LIST OF ILLUSTRATIONS FACING PLATE PACE XXXII Harness, Blackened and Engraved, about 1600. de Dino Collection . 68 XXXIII BURGANETS AND CLOSED HeLMETS, XVI and early xvii Century. Riggs Collection 70 XXXIV BuRGANET OF Henry II, about 1550. de Dino Collection 72 XXXV BURGANETS, MORIONS, AND CaBAS- SETS, XVI Century. Riggs Collec- tion 74 XXXVI Breastplates, xvi and xvii Cen- turies. Riggs Collection ... 76 XXXVII Pieces of Armor, xvi Century. Main- ly Riggs Collection 78 xxxviii Gauntlets, xv and xvi Centuries. Clarence H. Mackay, Riggs, and de Dino Collections 80 xxxix Gauntlets, xvi and early xvii Cen- turies 82 XL Gauntlets of the Due de Guise (?) j AND OF Philip III 84 XLi RoNDACHES, XVI and xvii Centuries. Riggs and de Dino Collections . . 86 XLii Swords, xvi Century, de Dino Col- lection 88 XLiii CiNQUEDEA, Early xvi Century. Riggs Collection . . 90 LIST OF ILLUSTRATIONS XIU FACING PLATE PAGE XLiv Swords, xv-xvii Centuries. Riggs and de Dino Collections .... 92 XLV Sword Pommels, xv and early xvi Century. Riggs Collection ... 94 XLVi Pole-Arms, xvi and xvii Centuries. Riggs Collection '96 XLVii War Hammers and Maces, xv and XVI Centuries. Riggs and de Dino Collections 98 XLViii Daggers, xiv, xv, and xvi Centuries. de Dino Collection . . . , .100 XLix Daggers, xvi Century, de Dino Col- lection 102 L ^ Guns, xvi and xvii Centuries. Riggs and de Dino Collections . . . .104 LI Pistols, xvi and xvii Centuries. Mainly Riggs Collection . . .106 Lii Powder Horns, xvi and xvii Cen- turies. Riggs Collection . . .108 Liii Horse Armor, about 1560. Riggs Collection 1 10 Liv Stirrups, xvi and xvii Centuries. Riggs Collection 112 LV Japanese Armor, vii Century (or earlier) ........ 120 XIV LIST OF ILLUSTRATIONS FACING PLATE PAGE LVi Japanese Armor, x or xi Century. From Temple Sugata-no-Miya . .122 Lvn Japanese Armor, about 1200. Dean Collection 124 LViii Japanese Armor, Ashikaga Period, XIV Century. From Kosuga Tem- ple, Nara 126 Lix Armor of the Early Tokugawa Period, about 1630. From Effigy of Date Masamune (Sendai) . .128 LX Crests of Distinguished Japanese Families (Diagram of Ceiling) . .136 Lxi Hispano-Arab Sword, End of xv Cen- tury. Turkish Casques, xv and XVI Centuries, de Dino Collection . 1 38 lxii Gauntlet Sword -Hilt, South In- dian, XVII Century. George C. Stone Collection 140 Lxiii Katah Handles, South Indian, xvii Century. George C. Stone Collec- tion 142 Lxiv South Indian Daggers, xvii Century. George C. Stone Collection . . .144 HANDBOOK OF THE COLLECTION I INTRODUCTION H E casual visitor to a modern museum is apt to know little of ancient Arms and Armor, and A he may not realize that among connoisseurs these objects rank high in the scale of objets d'ari — with ceramics, enamels, bronzes, even paintings. For one reason, unless he happens to know the famous collections in a few European capitals, he has prob- ably seen few specimens of armor of good quality. And he does not take into account that the art of the armorer, like the art of the painter or sculptor, can not be well appreciated from poor examples. On the other hand, the every-day visitor to a museum usu- ally associates arms and armor with the elaborately developed panoplies of the sixteenth century — of the time of the Italian wars and of the Field of the Cloth of Gold — and he pictures armor as a ceremonial equipment, etched, gilded, and embossed, worn as often in the court as in the camp, when swords were richly wrought, incrusted with silver and gold, and when halberds, which so often form an attractive portion of the sky-line in pictures of those days, 2 INTRODUCTION were fretted, etched, and gilded, their long shafts sheathed in velvet, and rich with silk tassels and gilded studs. These splendid equipments, it is true, represent an important side of the armorer's art. But it is equally true, from an artistic standpoint, that some of the most interesting objects were the earlier and simpler types which were beautiful rather in their lines and surfaces than in their mere enrich- ment. It is, then, from an examination of good specimens of armor and arms of various periods that one real- izes that they well deserve their place in a museum of art. And in this conclusion we need consider neither their historical value, as a means of picturing more accurately scenes and personages of known periods, nor their sentimental interest — which they possess to a degree rarely found in other objects of art — nor their supposed mystical significance. In the last regard, we recall the myths of god-like armorers and enchanted arms, which belonged to all early times and to all peoples. Unfortunately for the general public, representa- tive collections of these objects were not to be seen, until late years at least, on this side of the Atlantic. And even abroad few museums exhibited armor ade- quately. In fact, in the case of European armor, about ninety per cent of the best examples extant are restricted to but seven national European collec- tions, i. e., Vienna, Madrid, Paris, Dresden, Turin, London, and Petrograd — collections which, by the way, are not of public or popular origin, for they de- INTRODUCTION 3 scend in large part from the treasures of princely houses. In the United States few European arms have been exhibited. Aside from those shown at various times in the present Museum, only two representa- tive collections have been shown: when in 1893 the Zschille armor was exhibited at the World's Fair in Chicago, and in 19 16 when the gallery of the Cleveland Museum was opened with the important John L. Severance Benefaction. But what has become of the rest of the early armor and splendid arms? Surely in their day these objects were abundant and one may well query why many of them have not come down to our present time. The reason for this is complex. For one thing, during the past two centuries, when armor disappeared from use, there has been little interest in the armorer's art. Then, too, modern warfare, with its constant im- provement in fire-arms, discouraged and actually de- stroyed it. Armor became burdensome and useless, possibly dangerous; and when it finally lost its dig- nity, it was soon forgotten. War, too, with its al- most yearly changes in equipments during the last centuries, caused every struggling nation to prepare its arms as cheaply as possible; and under this con- dition even the best work was of little artistic value. Hence, the view became widespread that the work of the armorer represented a low branch of an art- ist's profession. Even the government of the United States took this point of view, and a few years ago, a casque executed for Francis I by a Negroli and 4 I NTRODUCTION designed by Cellini would have been held on our fron- tiers and assessed for duty as ''manufactured metal ware"! It came about, accordingly, in a period of disregard for the work of the ancient armorer that the objects of his art were destroyed, and in many ways. One hears of precious harnesses falling into the hands of artisans. Thus in Munich the gate of the botanical garden was made early in the last cen- tury of forged iron obtained from a collection of ancient armor (said to be largely Gothic!) from the garrets of the royal palace of Munich. Casques and bucklers enriched with gold were broken up to re- cover a trifling amount of precious metal. One of the best head-pieces in our collection was purchased from a stable boy; another was found in a Rhenish grocery shop in use as a meal-measure. About the time of the French Revolution, a number of ancient armories were dispersed and priceless armor was sold by weight — to be converted into horseshoes or pike- heads. In this connection, one should also take into account the fact that armor is not easily kept in order, and, if neglected, it rusts and speedily loses much of its attractiveness. Furthermore, it was at all times a costly matter to keep an armory in re- pair; and there is probably no kind of collection which requires greater attention, more skilful care, or larger outlays. When this attention was not given, the objects showed neglect so obviously that they were apt to find their way out of sight. Thus it happened in the course of centuries that important armor was removed from a position of prominence in PLATE I EGYPTIAN PREDYNASTIC FLINT SWORD BABYLONIAN SWORD, XIV CENTURY B. ( SEE PAGES 20, 24 INTRODUCTION 5 castle or manor, and stored away in a damp lumber- room, where, as in the instance of the admirable har- ness of Sir James Scudamore now shown in our col- lection, it suffered great neglect. As a matter of fact, under such conditions, when one looks into an ancient chest at the dismembered and disintegrating bits of armor, it takes not a little imagination to picture the former magnificence of the entire suit; its beauty of outline, its delicately engraved ornaments, its crisply fluted and russeted surface, its mountings in silk velvet and gold galloon, its close-fitting sym- metry, which made it appear molded to the living body of its wearer. On the other hand, in earlier times, armor and arms were among the most prized possessions of no- ble and commoner. They were objects, indeed, no less useful than beautiful. It was not unnatural, therefore, that the man who made them was looked upon everywhere as an artist who belonged to an an- cient and honorable guild. He had access at all times to courts and camps and his work was munifi- cently rewarded. A great swordsmith, Serafino di Brescia, was accepted by such an art lover as Francis I as equal in rank with Titian. The Negroli were en- nobled, fortune and fame came to the Colman fam- ily through the Austrian emperors, and the imperial Maximilian is pictured in his workshop with his hand upon the shoulder of the master-armorer Seu- senhofer. In those days, no painter was too distin- guished to act as a designer for military panoplies. Raphael and Michelangelo made studies for the 6 INTRODUCTION equipments of the papal court; Diirer prepared de- signs for the armor and arms of Maximilian; Leo- nardo was singularly fertile in similar work; Cellini not only designed but executed shields and hilts of rapiers and poignards. Among the artists who are known to have taken a part in the armorer's "trade" were Titian, Gian Bologna, Giulio Romano, Holbein, Peter Vischer, and Donatello. But the real armorer was evidently he who both designed his objects and executed them as well. And in this he followed an art whose technical diffi- culties were extreme. His work was to stand the test of service, therefore it was modeled in steel; and of this refractory material he formed objects of the hardest texture, whose thickness was great only at the points where actually needed, whose total weight was reduced to a minimum — yet with all this they should be beautiful. Nor did this mean that armor should attract chiefly from its decoration or enrich- ment. The artist's greatest work, whether casque, gauntlet, or sword-hilt, was like a Greek vase, beau- tiful in the effect of its shadows, in its movement and contour. During the greatest period of the European armorers, say between 1450 and 1530, even a detached piece — a shoulder, backplate, gaunt- let, or greave — had in some degree the merit of a fragment of classical sculpture. Not merely are its lines expressed beautifully, but one feels that it has within it something living. What this implies from the technical standpoint is realized more clearly when one watches a workman copying an ancient PLATE II BRONZE ARMOR, ITALIC VII (?) CENTURY B.C. SEE PAGE 26 INTRODUCTION 7 piece and sees how fully he is taxing both his hand and his judgment. Thus when modeling an object he may at one point heat the metal to excess, and thereby spoil his piece; his few extra hammer strokes may weaken the work at a critical point; or he can- not develop a desired contour if at the beginning the "pushing'' or spreading of the metal be not begun at a definite distance from the margin of the plate. In a word, in former centuries the work of the armorer was a living art and its technical interest was well understood even by laymen. Today, on the other hand, it is an art well nigh extinct, and there are not many, even among amateurs, who appreciate how subtle and difficult it was. Its processes were varied and a knowledge of them was often guarded jealously, as the heritage of artist families or of an- cient guilds. Its implements were things apart, with scores of curiously shaped hammers and anvils, and with a formidable battery of eccentric pincers, files, saws, and vises — objects which their owners some- times elaborately ornamented, incised, and sculp- tured. In fact, the ancient anvil,^ the pride of some sixteenth-century armorer, which is exhibited in the present gallery (H 9, near Case 48), will to some visitors be of greater interest than the armor itself. There are in fact few copyists today who would attempt a real armorer's task. And modern work has ever in it a hardness of line. Persuade an artist to copy, for example, the comb of a morion. This iThis, together with a sculptured vise, was lately borrowed by the Museum from the collection of Ambrose Monell of Tuxedo. 8 INTRODUCTION is the crest or ridge encircling the top of a somewhat hat-shaped head-piece, which the old armorer would develop out of a simple piece of metal to a height of six inches, and at the same time leave the maximum strength at the top of the crest where it was needed. If a modern copyist attempted such a task, his result would be lacking in finished symmetry or in the grad- uation in the thickness of the metal in the exposed parts. The only artist who might become a danger- ous faussaire is the one who would be willing to copy the same object scores of times. II THE PRESENT COLLECTION AND ITS ARRANGEMENT HE earliest arms and armor in the Museum appear in the Classical Department (J 2-7, A D 8), in several of the Egyptian rooms (D 3, E I, H 2), and in the room devoted to Cretan repro- ductions (D 12). All later specimens, which together represent over nine-tenths of the collection, have now been brought together from all sources and installed in four galleries in Addition H. European speci- mens appear in the main gallery (H 9), and in the large north room (H 8); Japanese armor is displayed in a room (H 6) east of the main gallery, and the re- maining Oriental arms in a room adjacent to this (H 5)/ In these galleries an arrangement has been followed which aims to furnish an outline of the ar- morer's art in various countries and more or less in a chronological sequence. For this reason, the visitor is recommended to consult the diagram of the gal- 1 The corner gallery (H 7) is not as yet completely arranged. It will contain a part of the William H. Riggs Armor and Art Donation, including contemporary portraits of knights in armor, Renaissance furni- ture, stained glass, early tournament books, and similar documents re- lating to arms. 9 THECOLLECTION II After completing his review of European Armor and Arms the visitor enters the Japanese Hall. At his left are arms of the stone, bronze, and early iron ages. Immediately in front are partial suits of ar- mor, dating from 1200 to 1500 A. D., which are of no little interest to the student, for they belong to the period which the Japanese look upon as the "golden age" of their national art. These objects are appar- ently the only ones of their kind that have found their way out of Japan. In the middle of the room are series of harnesses of the sixteenth, seventeenth, but mainly eighteenth century, together with asso- ciated arms. Among them are numerous examples of the workmanship of the Miochin family of armor- ers. Here, too, is the horse-equipment of a prince of Inaba. On either side of this are corselets, helmets, and detached pieces of armor. On the walls are pole- arms, surcoats, bows, quivers, and banners, including (in a frame) the war banner of Prince Date Masa- mune of Sendai (died 1636). At the south end of this gallery are cases of swords and sword-guards, fire-arms, and helmets. The latest objects in the Japanese military equipment here shown date to about the time of the overthrow of the Shogunate in 1868. The ceiling of this hall is worthy of careful exami- nation. It is decorated with the mon (crests) of the principal families of old Japan. Their names are given in a diagram as Plate LX. Passing into the next room to the south (H 5) the visitor may examine other Oriental arms. Here are 12 THE COLLECTION Turkish, Persian, and Indian head-pieces, which date from the fifteenth to the seventeenth century, and are of excellent workmanship/ Of these the earlier ones are of unusual diameter to enable them to be worn over large turbans. In a number of instances they are elaborately embossed and decorated with incised patterns and overlays of precious metals. Good examples of Oriental mail may also be ex- amined. Among the swords here shown are several whose ancient ''Damascus'' blades are composed of many fme layers of steel. One sword is of particular interest. Its blade is European, but its hilt was made by a Moorish artist and elaborately decorated with enamels; it belonged for centuries in the family of the Marquis de las dos Aquas of Valencia, and, with the leather despatch (or Koran) case accompanying it, was treasured as a relic of the ''unlucky" Boabdil, the last king of Granada. (Plate LX I .) Whether this tradition be true or not, this Hispano-Arab sword is a great rarity — only nine specimens of its type are described. In neighboring cases and panoplies are shields, breastplates, and gauntlets of Persian and North Indian origin. They are usually made of Damascus steel and elaborately decorated. There are also Malayan krisses, Persian daggers and swords, and enriched Oriental guns, many of these lent by George C. Stone. Especially noteworthy is Mr. 1 A few Oriental arms are shown in the Moore Gallery (E 12). These include an excellent Persian casque and corselet, and a Cingalese gun, the last a very rare object. Mr. George C. Stone tells the writer that he knows but three other examples, one in the South Kensington Museum and two in Russian collections. PLATE IV GREEK WARRIORS. FROM ANDOCIDES VASE END OF VI CENTURY B.C. SEE PAGE 28 TH E COLLECTION I3 Stone's series of fist-daggers (katdh) and a gauntlet sword from the Walhouse Collection and the state armory of the Maharaja Sivaji, the last king of Tanjore. In following the directions given in the preceding paragraphs, the visitor will find before him all arms and armor now on exhibition. Should he wish ad- ditional data for the study of armor, he is recom- mended to visit the halls where the plaster casts are shown (A 30, 31, 32, 33, 38). Here he will find re- productions of well-known monumental effigies and portrait statues dating from the fifteenth and six- teenth centuries. Among these we may note Gat- tamelata, 1453; Otho of Henneberg, 1487; Colleoni, 1493; Guidarello GuidarelH, 1501; Hermann VIII of Henneberg, 1508; several of Peter Vischer's kingly statues in the Innsbruck church, 15 13; Gaston de Foix, 15 15; Francis I, about 1520; Engelbert of Nas- sau, about 1525; Joachim of Brandenburg, 1530; Charles IX, 1571. There are also a few important original statues in stone and wood (Addition F) which will repay examination. And in the Morgan Collection (H 11-15, 19) there are numbers of ad- mirable contemporary representations in armor, in ivory, wood, stone, enamels, and paintings. We may mention finally that galvanoplastic reproductions of a number of well-known arms and embossed pieces of armor may be examined in the basement hall of Addition H, including notable specimens from the Petrograd Collection. TH E COLLECTION THE ORIGIN OF THE MUSEUM COLLECTION OF ARMOR Rutherfurd Stuyvesant, Vice-President (1904-5) and Trustee from 1870 to the time of his death in 1909, was greatly interested in the study of armor, and during his long association with the Museum, he spared no effort to show to the art-loving people of New York good examples of the work of the artist- armorers. His own extensive collection was several times placed at the service of the Museum, and his gifts were important. His purchases at the Spitzer sale (1895), where he secured some of the capital pieces, were at once sent to the Museum, where they have ever since been exhibited.^ He it was who, supported by J. Pierpont Morgan, negotiated the purchase in 1904, of the collection of the Duke de Dino: this had been formed by a wealthy French amateur under the advice of the well-known expert, Baron de Cosson. Previous to this, Mr. Stuyvesant expertised and recommended for acceptance by the Museum the small but valuable collection which forms the nu- cleus of the present exhibition. This included arms and detached pieces of armor, together with several suits and half-suits which had been secured by John S. Ellis, of Westchester, between 1865 and 1890. They were presented to the Museum in 1896 in Mr. Ellis's memory by his son, Augustus Van Home Ellis. Until 19 10, this collection remained in a sepa- 1 Since 1909 generously lent by Madame Rutherfurd Stuyvesant, PLATE V ROMAN AND DACIAN SOLDIERS FROM Trajan's column, ii century a.d. SEE PAGE 2() THECOLLECTION I5 rate gallery in Addition C (31). (See catalogue of Arms and Armor, Metropolitan Museum of Art, 1905.) It was later transferred to Gallery 6 in Ad- dition D, near the de Dino Collection, so that all the Museum's armor and arms could be examined to- gether conveniently. Various additions have come to the galleries since the installation of the de Dino objects. Purchases were made; some interesting arms from the collection of William Cruger Pell were presented (1906) by his daughter, Mrs. Ridgely Hunt; a series of Persian and Turkish arms was given by William B. Osgood Field; and in the Moore Collection were similar and admi- rable specimens. In 1903, a loan collection of Japan- ese armor was exhibited which, excepting two speci- mens, has since remained on exhibition, and with this were exhibited the Japanese swords of Bray ton Ives which were secured in 1891. Accessions to the Japanese armor collection came in 19 10 in the gift of the dozen or more harnesses, with accessories, of ex- cellent workmanship, which Dr. George M. Lefferts gathered in Japan about 1893; ^Iso in the objects secured by the curator in Japan in 1905, which he lately donated. These included many early pieces, notably those from the well-known Kawasaki Col- lection of Tokyo. A somewhat later accession in this field is the series of sword-guards presented by Mrs. Adrian H. Joline (1914). A few arms of the Bronze Age and of classical an- tiquity had been represented in the Cypriote Collec- tion of General di Cesnola — subsequent purchases l6 TH E COLLECTION (1903, 1907, 1909) yielded a dozen or more important objects in this early field, including casques, plas- trons, and shield bosses. Of supreme interest is the Etruscan chariot acquired in 1903. Of armor of the Renaissance, purchases have been made in recent years: in the sales of Whawell-Thill (Munich, 1908), Keucheleff (Paris, 19 12), Laking andZouche (London, 1920). In 19 19 the equestrian panoply of Galiot de Genouilhac (1527) was acquired, and in 1920 two enriched Italian suits of horse armor ( 1 560) . I n 1 9 1 2 two suits were secured which had been made for Sir James Scudamore about 1 585 at Green- wich, probably by the master-armorer, Jacobe. To the Metropolitan Museum the year 191 3 was in many directions the most important in its history. To its arms and armor it now added the William Henry Riggs Donation. This included, in fact, the entire collection of this well-known amateur, not only arms, but contemporary portraits of armored knights, a library upon armor, numerous pieces of Renaissance furniture, and panels of stained glass — a benefaction to the Museum which up to that time was second only in importance to the Rogers Bequest. Mr. Riggs (see Bulletin of The Metropolitan Mu- seum of Art, March, 19 14, pp. 66-74) was born in New York, but from the early fifties had made his home in Paris, where, in the greatest art market in the world, he was in constant touch with collectors and antiquity merchants. For over sixty years he devoted his time and fortune to his life-work. This PLATE VI PRANKISH SOLDIER, VI CENTURY AFTER GIMBEL SEE PAGE 33 THECOLLECTION I7 he maintained was to bring together ''for the benefit of the art-loving people of his country'' a collection of arms and armor which in its scope and quality would rank with European national collections. To this end he labored zealously. He traveled extensively in Germany, Italy, France, and Spain, and made re- markable "fmds.'' He knew what had been secured by the early collectors, and, awaiting his opportunity, he gathered from them, sooner or later, the pieces he coveted. In fact, the history of his objects is the history of the great collectors, such as Uboldo, Mey- rick, Fontaine, Carrand pere, Spitzer, Pourtales, von Leyden, Magniac, de Cosson, Belleval. Not infre- quently his treasures could be traced to national col- lections. Mr. Riggs's patient watchfulness brought him many historical pieces, and he did not allow them to slip through his fmgers when once captured. His work went on so quietly that few, even amateurs, realized the value of the collection which he was bringing together. For one thing, he permitted very few people to see it; and in later years, when acces- sions were made they were apt merely to be stored away in his home in rue Murillo, which came finally to be so filled with packing cases that the owner him- self could hardly find access to his purchases. Only when the first international exhibition took place in Paris did the art world realize what the retiring American amateur had accomplished — for he then permitted some of his most important pieces to be placed on public view. About 1910, Mr. Riggs decided that The Metro- l8 THE COLLECTION politan Museum of Art should become the permanent home of his collection; he had consulted Mr. Morgan and Vice-President Stuyvesant about the conditions in the Museum, and he was influenced in making his choice by the fact that Mr. Morgan, his life-long friend, was the President of the Museum. He ac- cordingly placed the matter in Mr. Morgan's hands, and at the latter's suggestion the Trustees arranged to exhibit the Riggs objects in the three present gal- leries. They were completed in 191 3, and were ap- proved in person by Mr. Riggs, who then visited his native city for the first time in forty-four years. Thereafter, within a few months, the collection was packed and shipped, the contents of a hundred odd cases arriving at the Museum without mishap. As a further instance of Mr. Riggs's generous attitude, we need only mention that he insisted that his col- lection should not be kept distinct from objects of similar nature in the Museum, and he expressed the wish that the arrangement of the arms and armor should be chronological, since by this means the scientific and artistic interest of the collection could best be demonstrated to the general visitor. SYNOPSIS OF THE MUSEUM COLLECTION OF ARMS AND ARMOR The European objects comprise over three thou- sand numbers, the Japanese sixteen hundred, other Oriental objects one hundred. There are in round numbers one hundred suits and half-suits of Euro- pean armor and fifty of Japanese; seventy specimens PLATE VII PRANKISH SOLDIER, IX CENTU AFTER GIMBEL SEE Pa\GE 33 THECOLLECTION I9 of European mail ; seventy European banners and forty Japanese; six hundred European pole-arms and sixty Japanese. The European material includes further ninety spurs, one hundred and ten daggers, forty guns, one hundred pistols, four hundred and fifty swords, eighty shields, two hundred helmets, two hundred and ten other pieces of armor, eighty maces, one hundred and seventy horse trappings, embracing bridles, bits, and stirrups. Ill EARLIEST ARMS AND ARMOR O attempt has yet been made to represent in the present collection the typical arms of the 1 Stone Age. From various specimens shown, however, it will be seen that the art of the maker of arms had already made important strides in the ear- liest times. Stone axes, daggers, knives, and arrow- points, which are certainly more than five thousand years old, were fashioned with no little skill. Es- pecially to be noted are the daggers and swords shown in the Egyptian room (D 3), which date from the predynastic period (about 3500 B. C). At this time, a degree of refinement in the chipping of flint had been attained which marks probably the highest point in the development of the art. (Plate I.) It may be remarked that the arms in chipped stone which appeared in various countries, and even con- tinents, are often curiously alike. In many instances, objects of the same shape and treatment can hardly be distinguished, although from widely separate lo- calities and of very different ages. It is probably in certain of these instances that the degree of skill shown in a definite locality was developed in an in- 20 EARLIEST ARMS AND ARMOR 21 dependent way, that is, as an instance of what the biologist would cajl "parallelism/' Thus the skill developed in Japan in the making of chipped arrow- points or axe-heads (celts) was in all likelihood a purely local development, i. e., unrelated to that developed in Denmark or in North America. Espe- cially in arrow-points, curious and highly specialized forms paralleled one another in widely separated places. And this is the more remarkable since some of these forms must have severely tested the skill of the artist who made them. There is perhaps no way of appreciating more clearly the difficulty of prepar- ing such objects than by attempting to copy one in a similar material, aided even with modern means for holding the object and for chipping it. It is even doubtful whether some of the highly ornamented flint or obsidian arrow-points, made by a ''savage'' more than four thousand years ago, could be copied accurately at the present day. Whether armor was employed earlier than the age of bronze is not definitely known. By analogy, how- ever, it is more than probable that some types of de- fensive arms were already in use. We may safely conclude that shields were carried, and it is probable, judging from our knowledge of the cultural condi- tions of primitive peoples, that forms of armor had been developed, fashioned either of fibres or of hides. IV ARMS AND ARMOR OF THE BRONZE AGE AND CLASSICAL ANTIQUITY I ^OR about six thousand years, man has been a worker in metals. He made his earliest im- A plements and arms in copper, either pure or alloyed — this at least is the commonly accepted view. Some investigators, however, maintain that he worked in iron, to a limited degree, at about the same time. And this view has in general no tech- nical objection to it; for iron is readily reduced from a rich ore in malleable lumps, as distinguished from "cast" iron (which has been in use only about three hundred years). This view, it may be mentioned, is based upon reported discoveries in Egypt. Here, the date of the appearance of bronze can be estab- lished with reasonable accuracy, e. g., in the fmds of Medum, dating about 3700 B. C. In China, it may have been in use earlier still, if we are willing to ac- cept definite limits in far-eastern chronology. There is certainly strong documentary evidence to show that bronze was in general use earlier than iron. Thus the Greek classics refer repeatedly to the wide- spread use of bronze and to the late appearance of 22 PLATE IX BANDED MAIL WITH SHOULDER SHIELD, I274 AFTER GAY SEE PAGE 38 BRONZE AGE AND CLASSICAL ANTIQUITY 23 iron. We know, too, that objects used for religious or tribal ceremonies, whether in Rome, Egypt, Si- beria, or Japan, were of bronze, rather than iron, and that such objects, on many grounds, were primitive. We find, further, that bronze implements and weapons occur in older burials, and that iron objects, when they begin to appear, assume shapes which had been developed in bronze only in later times. We cannot assume, however, that a bronze age was universal or even developed at the same time in widely separated countries. Each continent or coun- try shows wide variations. In northern Europe, where this age has been carefully studied, bronze ap- peared about 2000 B. C, and its use for arms and armor was continued well into the time of the Roman Empire, centuries after iron was generally employed. There were clearly reasons for this conservatism in the use of bronze: copper, pure or alloyed, was more easily handled than iron, it was splendidly majleable, it could be developed with less labor into plates and points, it did not rust, and it was suffi- ciently hard for its purpose. Few, irtdeed, realize to- day how hard copper may be made. It cannot be "tempered" like steel, but if hammered, its fibre be- comes compact, so that a bit of soft copper may be pounded into a point which will penetrate almost as well as iron. I recall seeing the first director of this Museum demonstrate the hardness of a Cypriote lance-blade (which was nearly pure copper) by driv- ing it into the oak floor of the gallery — the point when drawn out was found almost uninjured. But 24 BRONZE AGE AND CLASSICAL ANTIQUITY the hardening of copper was mainly due to alloys. Thus it was found that certain ores which were im- pure, e. g., those which we now know contain arsenic or antimony, furnished a more durable ''copper/* 1 1 was also early discovered that a slight admixture of tin produced arms which were of excellent quality. This result was probably the outcome of a local ex- periment in using a copper ore which happened to be rich in tin, say to the degree of two per cent. From this stage an experimental evolution proceeded until a bronze was produced which contained tin to the amount of about ten per cent. Some of the earliest European arms were prepared with no little skill, and from various points of view, technical and artistic. Some were hammered out of the metal direct, others were cast and then finished with hammer, file, and chisel; many show beautiful outlines and ornaments. Lance-heads with subellip- tical blades, arrow-heads with broad points, leaf- shaped sword-blades, and various forms of axe-heads (celts and palstaves, which were narrow celts fur- nished with a socket into which the handle fitted) (J 2) date from 2,000 B. C. to about 600 B. C. By far the most interesting of the earliest objects in the Museum is the Babylonian sword presented in 191 1 by J. Pierpont Morgan (H 5). This is prob- ably the oldest arm extant which is inscribed in such a way that it can be given a date. 1 1 bears cuneiform characters, which state that it belonged to the "Son of Budil, King of Assyria," who flourished in the fourteenth century B. C. (Plate I.) PLATE X COMPLETE CHAIN-MAIL, LATE XIII CENTURY (brass of sir JOHN d'aubernoun) AFTER HEWITT SEE PAGE 37 . BRONZE AGE AND CLASSICAL ANTIQUITY 25 Among earliest types we should mention the arms of the so-called Minoan period, dating from 1600- 1500 B. C, of which reproductions are exhibited in the Cretan Room (D 12). The daggers and swords are straight and massive, beautifully mounted, with ivory grips and golden guards and pommels. They suggest Egyptian objects of earlier age shown in Ad- dition H, 2. The oldest armor with which we are acquainted consists of jaierans, or jackets covered with scales. Of these, however, only the detached bronze scales are preserved, and it may be noted these are curiously similar in shape and size, in various and widely sep- arated countries. Thus the same type of bronze scales (often gilded) is found in Egypt (Addition H, 2), Spain, India, China, Japan (H 6, Case O.9 A), and the regions of the Euphrates and Danube. With this body armor appear bronze helmets which exhibit a modeling of no mean order; some are fashioned in a single piece, others are made up of plates which over- lap and are riveted together. In some instances these defenses continued to be worn when iron was already in general use. The first European iron objects date between 850 and 400 B. C. This we know from the burials in the famous cemetery at Hallstatt in the region of Innsbruck in Austria, where the finds have been studied with great care. In graves in this locality iron sword-blades, spear-heads, and arrow-points ap- pear side by side with bronze armor and arms, show- ing that for a considerable period the armorer used 26 BRONZE AGE AND CLASSICAL ANTIQUITY both metals. From this epoch of transition date many important specimens in the Bronze Room (Ad- dition J, 2). (Plate II.) Foremost among these is the bronze chariot (biga) acquired by the Museum in 1903. This was discovered in fragments in a tomb near Monteleone di Spoleto in Umbria. Its front and sides are encased in beautifully embossed bronze, showing on the front panel archaic figures in whose hands are an elaborately embossed shield and a casque of ''Corinthian" pattern. (Plate III.) Other bronze objects which date from the "Hall- statt period'' include a bronze corselet, Greek, dating probably from the fourth century B. C, also several bronze casques shown in the same case. Of these, the rarest is undoubtedly the Italic head-piece with a triangular median crest ornamented with lines of embossed dots and circles. (Plate II.) Casques of this type are known in about fifteen examples and are described by Freiherr von Lipperheide in his Corpus Cassidum, Berlin, 1902. Associated with this head-piece is a corselet of the same type, dating prob- ably from 700 B. C. (Plate II.) The present exam- ple is figured in Forrer's dictionary of archaeology and has been several times exhibited, notably in the military exhibition of Strassburg about 1905. In re- ferring to this object, we should mention the discov- ery in Fillinges in the Haute Savoie which took place several years ago, when a hoard of five or more breastplates of this type and one backplate were found lying together like a pile of broken shells. The backplate is here exhibited. Additional objects of PLATE XI HUNTING (or war) HORNS XI, XII, AND XV CENTURIES DINO AND MORGAN COLLECTIONS SEE PAGE 40 BRONZE AGE AND CLASSICAL ANTIQUITY 27 this period in the present collection include several gracefully modeled greaves, sixth or fifth century; a belt, Etruscan, fourth century B. C. from the ruins of Bitulinia; shield bosses, dating from the seventh century (?) ; together with a series of spear-heads, swords, and daggers. Of the latter, one retains its bronze sheath. In all these arms, it may be men- tioned, the workmanship is excellent. The de- signs have been traced free-hand, but accurately, and no little artistic judgment is shown in execution. In this regard, one recalls the ''Casque of Hannibal," an Etruscan head-piece, which is now preserved in the museum of Perugia. This object ranks with the best of armor, whether ancient or mediaeval. The beautiful arms of Greek, or broadly, Italiote workmanship of the sixth and fifth centuries B. C, are a legitimate product of this splendid period. Their makers were artists whose position in the community appears to have been quite equal to that of the designers of vases or buildings, and in their pride in their work, they sometimes carefully signed their pieces. It is only to be deplored that the works of these early armorers are now so rare. The casque in Perugia, and specimens in the museums in Athens, Naples, Paris, or Berlin, are at least enough to show the degree of taste, one is tempted to say perfection, which the art of the armorer had then attained. In spite of the lack of many objects for study, the equipment in Greek times is adequately known. Contemporary paintings, coins, and sculpture yield details which are in all probability accurate. Figures 28 BRONZE AGE AND CLASSICAL ANTIQUITY in armor were favorite themes of vase painters and from their works we may classify corselets and casques, swords, bows, quivers, lances, war-axes. (Plate IV.) The helm, close-fitting, fashioned from a single piece, protecting not only the cranium but the nose, cheeks, and chin (Corinthian form), was an excellent test of the armorer's skill, and such an ob- ject (in J 3 and J 4) well repays careful examina- tion. It was so made that the metal was thickest at exposed parts: then, too, rims were reinforced, and there were apt to be ornamental borders and well- planned ridges which strengthen the surfaces arid at the same time provide attractive lights and shades. Corselets were of numerous types, the most highly specialized having been modeled closely to the mus- cles of the chest. The abdomen was little protected, also the sword arm. The legs, on the other hand, were furnished with tall greaves and, rarely, thigh defenses, or cuts sards (see Plate IV). A huge shield was the major defense. Altogether, the panoply was designed to hamper as little as possible the movements of the wearer. And if a modern, or, still better, a mediaeval soldier could have observed the individual attacks at Mara- thon or Plataea, he would probably have been dumb- founded at the suddenness of the charges, the rapidity of .the thrusts, and the quickness with which the heavily armored Greek dropped to his knee, rose, or feinted. I have seen no comment upon the supreme activity of the Greek soldier in battle, but his armor gives the clearest proof that he specialized his equip- PLATE XII 'ivory" saddles, XIV, XV, AND XVII CENTURIES DE DINO COLLECTION SEE PAGE 41 BRONZE AGE AND CLASSICAL ANTIQUITY 29 ment in this functional direction. There was no reason why he should not have worn more complete armor, and if he did not protect his abdomen and thighs it was because he wished to keep unhampered his movements in running, leaping, twisting, bending, and stooping. Note, for example, the details of his greave: its ends show that it was formed so as to restrict as little as possible the varied movements of knee and ankle. That his sword arm was bare showed that he would not embarrass it even with the weight of a leathern sleeve ; for to retard the move- ment of his arm the fraction of a second might cost him a fatal wound. The use of the shield does not mean, indeed, that it was unnecessary for the soldier toprotectotherwisetheabdomen and thighs: certainly his sword arm was exposed, yet was unprotected, and his corselet fitted too closely the lower ribs and marked out too accurately the limits of the muscles which function in stooping, to have been developed as a mere accident. In fact, even when armor of the thighs is present it is of a special form so as to hinder little their activity. This line of development in armor, i. e., allowing a maximum of the wearer's active movements, seems to have been followed for a considerable period, for we have numerous documents tracing its changes dur- ing the last centuries before Christ and during the early centuries of the Roman Empire. The soldier of Rome (Plate V) was provided with armor which was suited for long marches and active movements. The flexible corselet and shoulder defenses, or span- 30 BRONZE AGE AND CLASSICAL ANTIQUITY drels, were admirably designed to these ends. They were formed of bands of iron, articulating by means of leather straps, and were probably a modified form of the earlier jazeran — which was still occasionally used — in which the horizontal rows of scales became transformed into bands. This enabled the wearer to discard the underlying jacket and to substitute a stronger corselet at less outlay. For the study of the arms and armor from about the year 400 B. C. to the time of Augustus Caesar many important fmds have been made in the Swiss lake deposits. At La Tene (near Neufchatel) so complete is the series of these re- mains that one can give relative dates to various forms of iron swords, spear-points, and other weapons. And it is found, in the most interesting way, that these comparisons hold good for arms found through- out Europe generally. We have few objects to illustrate the work of the artists of La Tene times, nor yet of Imperial Rome. In the Bronze Room there is, however, an excellent horse frontal, beautifully incised, which dates prob- ably from the second division of La Tene times (250- 150 B. C), and there are also several helmets and a few arms. Our knowledge of the armor of the Roman Empire is based largely upon contemporary sculp- tures, portrait statues, and especially upon the reliefs given in wealth of detail on Trajan's column (A. D. 114). Here appear not only Roman officers, legion- aries, and their train, but barbarians in full panoply. The latter show that highly ornamented arms were sometimes carried, that scale- and chain-armor were PLATE XIII CHESS FIGURE, ABOUT I35O MARBLE RELIEF, ABOUT 1 3OO SEE PAGES 41, 43 BRONZE AGE AND CLASSICAL ANTIQUITY 3I in frequent use, that their horses were sometimes armored, even to the fetlocks. Here, too, the fa- mous Roman short sword is pictured, but, curiously enough, the pilum is not represented. This was a long-necked spear which could be driven through a shield and passing its full length, transfix several enemies — breaking the virtue of the close-set mass of soldiers, or phalanx,'' which had played so im- portant a part in earlier wars. The best actual specimens of the armor of this age are preserved in the Naples museum, which exhibits the remarkable fmds from Pompeii and Herculaneum (A. D. 79), including objects engraved, gilded, and embossed. Of the last type is the famous visor of a helmet in the form of a face which was found in Eng- land (Rochester) and is now preserved in the British Museum. Its workmanship suggests the hand of a Roman Negroli. V THE EARLY CENTURIES OF THE CHRISTIAN ERA WITH the breaking down of the Roman Em- pire new styles of arms and armor were developed, and new methods in warfare were introduced. Roman fashions were rejected or could not be reproduced. The types of arms that then came into being suggest in details Oriental in- fluence. Scaled corselets (jazerans) appeared more abundantly, shields developed larger bosses, and swords became again long and narrow, but straight- edged, not leaf-shaped as in early Gallic times. Axes appeared in such numbers that they are spoken of as the national weapons of the tribes which swept into the Roman Empire over the German and Dacian frontiers. Specimens of these arms date usually from the fourth to the eighth century A. D. They are shown in numerous examples in Case i in the present main hall — a remarkable series which forms by no means an unimportant part of the J. Pierpont Mor- gan Collection. They were originally brought to- gether by Stanislas Baron, who for many years ex- plored the Prankish cemeteries in the neighborhood 32 PLATE XIV TRANSITIONAL ARMOR OF GUENTHER VON SCHWARZBURG, I35O, AFTER HEWITT SEE PAGE 42 EARLY CHRISTIAN ERA 33 of Vermant, Belgium. They include a number of splendid swords, one of which has its hilt enriched with gold and garnets; a shield boss of unusual size entirely incrusted with gold; numerous axe-heads and spear-points; daggers of peculiar form, or scramasax, which in several specimens preserve their scabbards. The warrior of the sixth or seventh century (Plate VI) was often far less completely armored than the Roman legionary: he had no metal corselet, a jacket of hide protecting his body, and he had no defenses for face or neck. On the other hand, his arms and legs were protected in a measure, and his lower legs were closely wrapped with a kind of puttee. His major defense was his Spangenhelm, or conical casque made up of many pieces, and his great shield, which was wooden, covered with leather, and reinforced with iron — the latter in the form of a central boss and radiating and concentric bands. His equipment, although primitive to a certain degree, bore some- times, as the present specimens show, rich ornaments. Buckles, hooks, hilts, scabbards, bands of casques, are sometimes engraved and gilded, or beautifully inlaid with precious metals in close-set Merovingian strapwork (Addition F, 2). The supreme development of early Teutonic armor may be seen (Plate VII) in the equipment of a Prankish warrior of the time of Charlemagne (early ninth century). Here the jacket of hide has been replaced by a jazeran, or coat of scales (see the speci- men in Case 15, which dates, however, from the fif- teenth century) on which the scales, whether of metal 34 EARLY CHRISTIAN ERA or boiled leather, are sewed in place. The helmet is fuller and deeper, protecting the face by its flaring rim: attached to it is a hood, of leather or mail, to protect the neck and face. In ofi'ensive arms the pilum-shaped dart has given place to a stout lance, finished with a long, leaf-shaped head, reinforced by basal prongs (Case i). PLATE XV ARMOR TRANSITIONAL FROM CHAIN TO PLATE, AFTER HEWITT, FROM MS. "mELIADUs" SEE PAGE 43 VI CHAIN-MAIL AND MEDIAEVAL ARMOR A FAIRLY distinct period in the history of Eu- ropean armor is marked by the development of chain-mail. This was flexible, light, and extremely strong. It came, therefore, to supplant the cruder defenses of Carolingian times. It was largely in use from the tenth century onward, but became a secondary defense about 1300. In gen- eral, this type of armor is believed to have been in- troduced into Europe from the Orient, where its use survived until recent times — and where it may still survive. In the Caucasus, for example, coats of chain were worn recently, and in Thibet within about ten years a British expedition found native soldiers in shirts of riveted mail. It was early held that Euro- pean mail was introduced from the E/st during the Crusades. But it is now known that the people of northern Europe wore mail at an early period. The Norse records speak of primitive hauberks as "war- nets woven by the smith hand locked and riveted," and fragments of these have been found in Viking burials. This mail, it is true, may have come from the East, for we know that the Norsemen carried 36 CHAIN -MAIL AND MEDIAEVAL ARMOR their excursions far into the Mediterranean and were well acquainted with Oriental objects. In this con- nection, one recalls the peacock feathers — which came probably from India — which were found in one of the Viking boats now preserved in the University of Christiania. On the other hand, it is probable that chain-mail was more or less continuously used in Europe since Roman times, for the sculptures on Trajan's column (A. D. 114) demonstrate that the lorica catenata was quite similar to mediaeval mail. Specimens of mail which undoubtedly date be- tween the earliest times and the fourteenth century are almost unknown in collections. Even fragments of it are very rare; for mail, presenting in each link so large a surface for rusting, has in the course of cen- turies melted away. Our knowledge of early mail has therefore been based upon contemporary illus- trations, notably illuminated miniatures and grave- stone figures. The mail of the eleventh century is pictured in de- tail in the embroidery of Bayeux. (Plate VIII.) From this wonderful ''document'' we know that several types of ring mail were already in use. A prevailing form was fashioned of heavy iron rings which appear to have been sewed in bands upon a heavily padded garment: this padding, by the way, was always of the utmost value in this type of de- fense; for chain-mail, while preventing a point or edge entering it, was flexible and did not guard against a crushing blow, as of a mace or war-axe. There are no actual specimens of the mail of this period, but we PLATE XVI EARLY PLATE-ARMOR, I4OI AFTER BRASS OF SIR NICHOLAS DAGWORTH SEE PAGE 47 CHAIN -MAIL AND MEDIAEVAL ARMOR 37 conclude that the rings were heavy and large: we know that the hauberks were long and complete, en- veloping the head and extending to or below the knees. The head-piece was a conical helmet made of several plates riveted together and provided with a heavy nose guard (see Case i). A further defense was a long, kite-shaped shield which usually retained its median boss, recalling, in fact, the shields of earlier ages. Offensive arms of this period include the war-axe (Cases i, i8), which now is provided with a long handle and is wielded by two hands; a large, long-bladed, two-edged sword; darts or javelins; and various forms of arrows and bows. Complete suits of chain-mail date from the twelfth century and were the characteristic armor of the early Crusades. Examples of this type, but of slightly later date, are pictured in Plates IX and X. One of these shows the long-discussed "banded'' mail which sometimes dates as early as 1200. In this the bands appear to have been produced in different ways: in one of them thongs of leather were passed through successive rows of links. We know that at one time the mail covering the feet was included with the leg covering, and that a hood and mittened sleeves were continuous with the skirt. During this period, the head-piece was a broad iron cap, or primi- tive basinet. Over the body was worn a cloth sur- coat, which hung loosely from the shoulders and was drawn together at the waist by a knightly girdle. It bore heraldic devices, which were also blazoned on a short triangular shield (Case 17) carried slung from 38 CHAIN -MAIL AND MEDIAEVAL ARMOR the shoulders. It has been observed that the shield became reduced in size as the efficiency of the mail increased. About the end of the thirteenth century supplemental shields, also with heraldic ornament, appeared in curious plates, or ailettes, which were laced to each shoulder. (Plate IX.) They were so attached that when struck they tilted over and de- flected the blow. They are characteristic of a period of about half a century. No actual example of a European ailette appears to have been preserved. In Japanese armor, on the other hand, an ailette-like defense, the sode, was retained for over a thousand years. Advances in the ofiPensive arms of this period in- clude the lengthening of the sword, which now tapers from hilt to tip, and the more constant appearance of the lance. Horse armor is not pictured in the Bayeux "tap- estry." It appears, however, occasionally during the late thirteenth century. It was then a blanket-like housing of chain-mail. In the present collection there are few objects dat- ing from the earlier period of chain-mail. The oldest hauberks in the collection, shown in Cases 11, 12, 14, certainly do not antedate the fourteenth century, and, with few exceptions, were worn under complete armor or as supplemental defenses. With these are exhibited coiffes of chain-mail which probably date from the first half of the fourteenth century, and leggings of mail, also of this century. In other cases (Cases 2 and 31) are mail neck defenses, camail, CHAIN-MAIL AND MEDIAEVAL ARMOR 39 also hrayettes or groin defenses (fifteenth century?) (Case 2). There are also head-coverings which are made of coiled rope (probably fourteenth century) and were worn under caps of chain-mail (Cases 12, 13). In many instances the mail itself is beautifully fashioned. Each link is carefully closed and riveted. Numerous examples of "double" mail are shown. This was rarely formed of doubled links, but was closely woven, each link attached to the usual four neighboring rings, but thick and heavy, filling up the mesh of the mail, and preventing the en- trance of even a pin-point (Cases 2, 13). Mail, we may note, is one of the few objects which faussaires fail to reproduce, for a copy of a shirt of mail would cost today more than an original object. Each link of the shirt is made separately, and one may understand what labor this involves when he learns that in a hauberk in the present collection there are over two hundred thousand rings, which probably cost its maker years of unremitting work. The collector's embarrassment in dealing with chain-mail is not in avoiding modern copies, but in learning to distinguish European from Oriental mail, which is far less valuable; for while European mail was rarely made after 1600, the Oriental armorers produced large quantities of chain shirts during the seventeenth and eighteenth centuries. Only in the technical details do these differ from German or Italian examples. Dating from the chain-mail "period," the collec- tion shows numerous trappings (Case 16). Prick 40 CHAIN -MAIL AND MEDIAEVAL ARMOR spurs are here and early spurs with rowels, including a splendid specimen, engraved and gilded, bearing the arms of the de Dreux family. Here, too, are numbers of armorial pendants (Case 8). These are of various shapes and sizes and were attached to mail or to horse trappings in various ways. Some were ''badges of recognition,'' worn by heralds or mes- sengers. Others seem to have been strung along the lower rim of a horse's chest-strap, or peytrel. Others still were parts of stirrups or even spurs (see the splendid example in Case 8). These objects are frequently ornamented with enamels, fashioned elaborately, and beautiful in their blazonry. They date from the eleventh to the sixteenth century, the majority, however, probably from the fourteenth century. Many of the specimens are Spanish. The present series formed an important part of the de Dino Collection. Near the case of armorial pendants are two ivory hunting (or war) horns (Case 6) which merit careful inspection. (Plate XI.) The larger one is an olifant from the Benedictine abbey at Dijon; it dates from the twelfth (?) century, and is accompanied with a leather case which was prepared for it in the fifteenth century. It may well have had an Oriental origin, possibly Persian, its deeply incised medallions pic- turing lions, antelopes, elephants, and a turbaned figure. The smaller specimen is earHer; it is probably from northern Europe. Other olifants, including a fragment which suggests our larger specimen, may be seen in the Morgan Collection. In Case i6 note also PLATE XVIII GOTHIC ARMOR, ABOUT 1 43 5 AFTER THE BRASS OF ROGER ELMBRYGGE SEE PAGE 49 CHAIN-MAIL AND MEDIAEVAL ARMOR 4I the ivory hilt of a dagger carved elaborately a jour; it is Venetian, thirteenth century. These ivory objects suggest the "ivory saddles" shown in Cases 7 and 9, although they are not so old as the olifants here considered, nor are they really of ivory. They are early, none the less, and are among the rarest objects in the collection. (Plate XII.) The smaller saddle is German, dating 1400 or earlier; the other is Italian, about 1450: both are wooden, veneered with plates of bone which have been sculptured and polychromed. From the stand- point of early ornament these objects are of the high- est interest. Few museums possess them: the most closely related examples are in the imperial historical museum in Vienna and in the Wallace Collection in London. As a final illustration of the equipment of this period, one should examine the small equestrian fig- ure (Plate XIII) which came from Poblet, probably from the tomb of King James the Wise of Aragon, who died in 1276 (see Bulletin of the Metropolitan Museum of Art, August, 191 3, pp. 171-173): this is now exhibited in Addition F, i . VII THE PERIOD OF TRANSITION FROM CHAIN-MAIL TO PLATE-ARMOR DURING the period from 1200 to 1400, there were notable improvements in military equipment. In one regard, chain-mail came to be reinforced with bands or plates of steel which guarded the wearer from the shock of blows. In early examples, suits of chain were reinforced with an occasional plate, e. g., a knee- or elbow-guard, or a face-plate attached more or, less loosely to the head-piece. These supplementary pieces were some- times of iron, often, however, of leather hardened by boiling. Of the latter material were probably the supplemental defenses of Guenther von Schwarz- burg. King of the Romans (about 1350), which are represented in his tomb-effigy. Here (Plate XIV) ■ only the bands, ornaments, and head defense appear to have been metal. Another line of improvement concerned the defensive armor of the head. The casque, or basinet, was closely modeled to the head of a wearer and it had laced to it a camail, or wide collar of chain-mail. At this period, the basinet had some- times fitted over it, but separated by heavy padding, 42 ?fiar'um4r;o'ui&ua-\)mtafoTrt,rt lora Eu\3flintu3 -4^ -i^ltnupljans A Ion aiflif -> ft prfus ft tjarOis n (ubfide ■ wjotjitiis [stis atlfnbrt-brstuianl'umt fa nrfs brfchibrt- ' "HiJarjo'UBtuj fu Itjiploitottl quifrsnqs fu biugljirr 'uoloir gjnCi Imi granii ioTtt ou iiouUiur«. dl julles cljiCar par amour- vcffarpms racachs Cans iiijucte-Oiraph brfnnis ft b routr If 6(inam( mtrt Ifsfrancois - quili trouXid Ifaus a Con rtjoia baillfs « portfs Of [fns =. rt o lui Ifs franroia ^ic Q u J -J SE 2 :d < UJ O Z O D < O O UJ H i 2 NT ME w UJ O Q Q a, Z H < CU UJ CQ HIL a! LU o UJ a, D a LU < u ARMS — EARLY SIXTEENTHCENTURY 67 manteau d'armes, especially provided with ridges (see Case 59). It was a broken lance of this type, doubtless, which caused the death of Henry II (1559) when a splinter entered his eye. Carrousel lances were the latest and most degenerate form of these arms. In these the base of the shaft is ornamented with fragile fretwork and the point is no longer a weapon, but an implement for catching a ring. E. THE ARMS OF THE EARLY DECADES OF THE SIXTEENTH CENTURY The swords of these decades are either modifica- tions of the earlier Gothic forms or special types newly developed (Case 46). In the former class the pommels are apt to become pear-shaped, lose their strictly bilateral symmetry, and develop rop- ing'' in their decoration. The quillon's either droop more sharply or are curved S-shaped, usually at right angles to the blade. (See second figure, Plate XLIV.) In many swords dating from the early six- teenth century the guard develops a ring (anneau) at the side, and in some instances, of slightly later date, a pair of rings {pas d'ane) at the side of the blade in front of the quillons, as grips for the first and second fingers. Of the newer types, we note a German sword, whose decoration on hilt and blade is elaborately etched after designs by Albrecht Diirer (?). There is also a Venetian sword ^ of first 1 It might be mentioned as an amusing test of the interest and beauty of this sword that the distinguished expert, M. de Beaumont, would rarely fail to take it in his hands and kiss it when he visited Mr. Riggs's gallery. / 68 PLATE-ARMOR AND FIRE-ARMS rank, its hilt elaborately etched, showing traces of gilding. In its decoration, it suggests the famous ''casque of Boabdil'' in the museum in Madrid. (Plate XL! V, and pommel in Plate XLV.) Near this sword is an historical blade, bearing the inscription Leo X, Pont. Max. III. This is one of the earliest of its type extant. Papal swords, it may be noted, were presented to sovereigns and distinguished gen- erals, commemorating services for the Roman faith. There are recorded about thirty swords of this type, of which all but two are in the possession of European governments. Another interesting sword exhibited in the same case is a state sword which belonged to the family of the doges Mocenigo. From the early decades of this century date a num- ber of the maces and war-hammers shown in Case 48. (Plate XLVII.) The maces of earlier date have handles which suggest daggers a rouelle,and heads of small size, their plates sometimes inset with strips of brass in the fashion of the end of the fifteenth cen- tury. The maces of the middle of the sixteenth cen- tury are sometimes richly decorated with foliation and strapwork, chiseled or etched. One of the im- portant maces in the series is of this period and bears the badge of Austria (Case 48): another, richly damaskeened, is believed to have belonged to Henry II of France (Case 102). The later maces have large heads, egg-shaped, and the handle is hardly to be distinguished from the shaft. In Case 48 are also shown numerous examples of war-hammers and hatchets, in some of which (brandestoc) a blade is PLATE XXXII HARNESS, BLACKENED AND ENGRAVED, ABOUT 1 6oO DE DINO COLLECTION SEE PAGE 94 ARMOR — SIXTEENTH CENTURY 69 concealed in the handle. Many of the present speci- mens are decorated with etching and gilding. In rare instances, wheellock pistols are fashioned in combina- tion with hammers and war hatchets. Military flails are also shown in this case. Earlier types of these arms appear in a wall panoply in the southeast corner of the large gallery. Pole-arms of the early sixteenth century, in- cluding many historical pieces, are attached to the columns on the north and west sides of the main gallery and to the west wall. Halberds are usually wide-bladed, with stout, moderately short tips, quad- rangular in section (see the later ''Gothic'' halberds on the east wall of the main gallery). In Mediter- ranean countries, pole-arms were often trident- shaped (see also the series at the left of the Gothic tapestry on the east wall of the main gallery). A number of these arms retain their original shafts: these are sometimes carved, sometimes studded with gilt-headed nails and encased with velvet. In the present collection the series of these types is excep- tionally complete. F. ARMOR OF THE MIDDLE AND LATE SIXTEENTH CENTURY After the Maximilian period, armor began a series of changes in form and decoration which led ever in the direction of decadence (especially see Cases 49- 51, 75-81, 99-100, 104-105). The plates lost their strengthening ridges and were of poorer metal, work- manship, and form. And they continually increased 70 PLATE-ARMOR AND FIRE-ARMS in weight as fire-arms became more effective. The ornamentation of armor was now expressed less in the development of the form and ridging of the plates than in superficial traceries, etched, stamped, or gilded. Where the surface of plates became em- bossed, as in the richest type of sixteenth-century armor, the raised ornaments tended to weaken the armor. In short, in all this decoration, it was the goldsmith who worked rather than the armorer. (Compare Plates XXV and XXVI I to XXIX.) The general changes which appear during the middle and later part of the sixteenth century are especially well shown in the harnesses of Cases 75 and 79. The helmet was provided with a sharp, keel- like crest, and the visor, instead of being in a single piece, was now formed of upper and lower moities, the upper one (visor, or visiere) pierced with the slits for vision, the lower {ventaiT) perforated with breath- ing holes. The neck region of the helmet was pro- vided with one or more overlapping collar-shaped plates, alike in the front and on the back. (See Cases 75, 79, and 108.) The breastplate, which was well rounded in the Maximilian period, now became elongated and sharply ridged, developing a point (tapul) either in the middle of the plate or near the waist-line (Cases 61, 67, 93, 98). In later forms the shape is punchinello-like (Cases 94 and 104). (Plate XXX.) With these changes the tassets tend to become wider and shorter. The leg defenses lose the graceful lines of fifteenth-century armor: but, to compensate for the lack of skilful modeling, the ankle region PLATE XXXIII BURGANETS AND CLOSED HELMETS XVI AND EARLY XVII CENTURY RIGGS COLLECTION SEE PAGE 71 ARMOR — SIXTEENTH CENTURY 7I acquires a series of flexible joints. In the armor of the feet, the truncated sollerets (sabbatons) of a Maximilian suit become roundly ended toes. In the latter part of the century, a tendency is pres- ent for leg armor to be discarded even in the better suits. During this period, head-pieces were of many types. (Plates XXXI to XXXV.) The closed helmet was for heavier service. The burganet was a lighter head- piece, close-fitting, with articulating plates covering ears and chin (Cases 107, 109). The morion and cabasset were hat-shaped head-pieces with crescentic or flat brims respectively, provided with "ear tabs," strengthened by metal plates (Cases 103, 112, and 113). These were for lightest service. In the burganet the face was sometimes protected with a visor, or buffe, which locked in position over face and chin, but could readily be detached. (Cases 60 and 109.) A number of head-pieces here exhibited are of historical interest. Thus, there are head-pieces which we have good reason to believe belonged to Henry II of France (Cases 98 A, 103), to Charles IX (Case 109), to Marquis de la Tremouille (Case 75 A), to Louis XIII (Case 107), to various members of the house of Savoy (Cases 109, no), and to state guards of several Saxon electors (Case iii), of Cosimo de' Medici (Case 107), of Pope Julius III (Case 1 10). The harnesses of this period are well illustrated in the large north gallery. Here are suits of decorated 72 PLATE-ARMOR AND FIRE-ARMS armor, dating from 1540 to about 1600. They show the various forms of etching, punched work, gilding, and embossing. They illustrate as well the different types of helmets, breastplates (Plate XXXVI), gauntlets (Plates XXXVI II-XXXIX), and leg armor- ing. Among the historical suits are the embossed half-armor of the Duke of Alva (Case 104 and Plate XXVII), an engraved and gilded half-armor of one of the de' Medici (Case 100), two suits of Sir James Scudamore (Cases 94 and 95), the equestrian harness of a Colonna, probably Marcus Antonius Colonna (central figure, E. p, in north gallery), the complete harness with chamfron and supplemental head-piece of a Duke of Lorraine (Case 75), a half-armor of the guard of Duke Julius of Brunswick (Case 92), and parts of the sumptuously embossed armor of a Gover- nor of Milan, the Duke of Sessa (Case 84). In the same gallery is a fairly complete series of the pole- arms of this period, many of which are engraved and gilded (Cases 69 and 70). A large number of the round shields [rondache) for parade, engraved, gilded, embossed, are shown here also. (Plate XLI.) In this series the Museum is particularly rich, exhibit- ing upward of sixty specimens. Among the artist- armorers whose work is here illustrated may be mentioned Pompeo della Chiesa (Case 99), Pfeffen- hauser (102), Wolf of Landshut (59, 89, 102), Pic- cinino (84, loi), various members of the family Ne- groli (107), Colman (88), Frauenpreis (loi), Seusen- hofer (76), Siebenburger (60), Wilhelm von Worms (59 and 83), Jacobe (94, 95, 102), Spaccini (loi), von PLATE XXXIV BURGANET OF HENRY II, ABOUT I 5 50 DE DINO COLLECTION SEE PAGE 71 SWORDS AND DAGGERS 73 Speyer (80), Bartolomeo Campi (one shoulder de- fense, 104), and Hopfer (59). G. SWORDS AND DAGGERS OF THE SECOND HALF OF THE SIXTEENTH CENTURY This was an epoch of enriched side-arms. Sword and dagger were worn constantly, and, at a time when fleets from India and America were emptying their treasures into the markets of Europe, beauti- fully decorated arms were seen everywhere. (Plates XLII-XLIV, XLVIII, XLIX.) In Italy the short, wide-bladed cinquedea (Plate XLI II) reached its highest point of development dur- ing the first two decades of the sixteenth century; its blade was richly etched, gilded, and blued (Case 20) ; and its sheath was an admirable example of the art of the worker in leather. At this time and slightly later there was often worn a cutlass of a richly orna- mented form, suggesting Venetian galleys and the Orient: its blade was ground in small parallel grooves or in close-set elliptical areas, and its hilt was mas- sive, ornate, usually of gilt-bronze, with asymmetrical guard and pommel (Case 20). Then, too, arising partly from newer dealings with all parts of the world, there appeared a great variety in swords and their furnishings: the commonest type was the rapier, with blade long and slender, and hilt developed in a basket- work of delicate, overlapping, or interlacing bands (Cases 55, 61, 90, and 91). These arose from and around the anneaux and pas d'ane of the earlier sword (p. 67), and soon became a means of decoration, 74 PLATE-ARMOR AND FIRE-ARMS for they twisted gracefully about the hand, swept along (hence the name*' swept-hilted") over the knuck- les, and focused near the pommel. Rapiers at this period were objects of rich adornment; their hilts were incrusted with gold and silver, inset with medal- lions and enamels chiseled in fme relief. (Plate XLII .) Of these, we have numerous examples in our collec- tion (Cases 90 and 91). Some are of historical in- terest. One bears the arms of the Albani, and is believed to have been in the possession of Pope Sixtus V. A rapier mounted as a cane may have be- longed to Juan Jose of Austria. In some of these ex- amples the blades are of greater interest and^more precious than the elaborate hilts; for this was the time when Toledo and Milan were producing their best steel, and when such great swordsmiths worked as the elder Sahagun (Case 91), Sebastian Hernandez (82), and Juan Martinez (61), all of whom made swords for the court of Spain, also Serafmo di Brescia, who was a friend of Francis I, Sebastian Ruiz (82), who was called to the Austrian court, Lucio Piccinino (82), who executed swords for Charles V and Ales- sandro Farnese, and the other Milanese artist, Pietro Caino (55), artists so famous that their names and marks were copied fraudulently in many cities of Europe during and ever since their day. Highly decorated belts and hangers (Case 91) were provided for these swords : some were of damask, elaborately embroidered; some were of velvet; others, of tooled leather with buckles chased and damas- keened. (Case 126.) PLATE XXXV BURGANETS, MORIONS, AND CABASSETS, XVI CENTURY RIGGS COLLECTION SEE PAGE 71 POLE-ARMS 75 Daggers were designed to accompany the swords, their pommels and guards corresponding in form and decoration (Cases 55, 90, and 91): most of them are small, with delicate blades, the latter in some cases ground in parallel, deep, long grooves, in which were lines of fme perforations. These, it is said, were ar- ranged to carry poison; for such a blade once wiped with a poisoned cloth could still be cleaned, yet leave in the fme pores enough poison to make even a slight wound fatal. The evidence is vague that these daggers were really used in this way, but the story is interesting, suggesting the times of Cesare Borgia. A beautiful type of dagger, which by the way has ever found favor with amateurs, was developed from the ancient Swiss short-sword. This arose naturally during a time when war had become a trade and when Swiss mercenaries were renowned throughout Eu- rope for their valor and fidehty; for their pay en- abled them to gratify a fantastic taste in arms and costume. Especially' their dagger-sheath became a splendid affair: it was usually in bronze, gilded and perforated (Case 66), in some instances after de- signs by well-known artists, e. g., the younger Hol- bein. Its favorite theme was the ''dance of death." (Plate XLIX.) H. POLE-ARMS Pole-arms were in constant use during the six- teenth century; they appear in the field, in court, in processions, among civic officers, sometimes in ornate design, occasionally enriched luxuriously. Even the simple forms were often ornamented to some degree, 76 PLATE-ARMOR AND FIRE-ARMS if only with pierced work or in the curves or prongs of their outHne. In the next higher type, they would be ornamented by etching more or less complicated in design. In a still higher grade, the etched pattern would be picked out with gold or in some examples the entire surface would be gilded, either by dam- askeen, or as 'Tire-gilt" from a mercury amalgam. In the most elaborate forms the decoration appeared as etching, gilding, bluing, and incrusting with metals of various colors, including of course silver and gold. Various forms of halberds in which the better types of enrichment are shown are exhibited in Cases 69 and 70. Here one sees, for example, late types in which the decoration by silhouetting is carried to a high degree of refinement. In such instances the blade sometimes bears at its base a melon-shaped rosette formed of separately welded pieces, which is of great ornamental value, since it shows its perfora- tions from all points of view. In the present collec- tion, there is an important series of fauchards, the heads of which are shaped like knives, but furnished with ornate prongs on the back of the blade. One of these fauchards — early seventeenth century, however — which belonged to the state guard of the Borghese who became Pope Paul V, exhibits every process of ornamentation — silhouetting, engraving, gilding, damaskeening, punched work, bluing, and incrusta- tion with metals of various colors. (Plate XLVI.) This incrusted work, by the way, is a variety of dam- askeening; in the latter process, the surface of the metal was first scratched with a sharp instrument, like PLATE XXXVI BREASTPLATES, XVI AND XVII CENTURIES RIGGS COLLECTION SEE PAGE 72 POLE-ARMS 77 a graver, and upon this "hatching," which formed ''burr "-edges, precious metals were attached in lines or surfaces by hammers and burnishers. In the incrusted work, on the other hand, the actual design was at once chiseled into the metal, and into this special grooving the various metals were hammered. In damaskeening, the traceries were practically flush with the surface of the metal : in incrusted work the pattern usually stood well above the level of the plate. The shafts of halberds vary in accordance with the importance of the object. They were undec- orated in the simpler arms; they were finished with banks or rows of brass-headed nails in arms of higher grade; in other instances they were covered with velvet and adorned with beautifully woven tassels of silk. Carved shafts are rare except in such hunt- ing arms as boar spears. Extremely rare is the delicately carved handle of a north Italian halberd, probably Florentine, shown in Case 69. During later times pole-arms suffered from the same decadence as defensive armor, although num- bers of halberds decorated with etching and gilding were produced in Austria and Saxony during the first half of the seventeenth century (note specimens arranged on columns near the north end of the main gallery; see also middle figure in Plate XLVI). But even in those we find decadent changes. The last forms of halberds were the spontoons which were carried by non-commissioned officers during the eighteenth century. These were usually simple afi"airs 78 PLATE-ARMOR AND FIRE-ARMS with small heads decorated only sparingly. They are represented in the present collection by a numerous series (arranged on two racks against the north wall of the main gallery), which is the more remarkable since nearly every specimen is richly engraved and gilded. I. BOWS, ARROWS, AND CROSSBOWS Bows and arrows were among the earliest and commonest arms, yet early specimens of them are rarely seen in collections. As objects of art they held but low rank, and they rarely outlived their use- fulness. It is a curious fact that not a single specimen of the early English longbow, which in the fourteenth century was probably the most famous offensive arm in Europe, appears to have survived, though a num- ber of bowstaves, dating from 1545, were obtained when the wreck of the Mary Rose was recovered off Spithead. The only bow which may prove to be English and earlier than the middle of the sixteenth century is said to be preserved in the castle of Dover. In the present collection, there is but one European longbow (Case 106), and it is relatively late — not older than the seventeenth century. It is 76 inches in length, well modeled, and of great strength; it was made in Lausanne and bears the name of its maker stamped in the wood near the velvet grip. Complete ''cloth-yard'' arrows, dating earlier than the seven- teenth century, appear to be unknown. Of extreme rarity are early ''bracers," which were strapped to PLATE XXXVII PIECES OF ARMOR, XVI CENTURY MAINLY RIGGS COLLECTION SEE PAGE 66 BOWS, ARROWS, AND CROSSBOWS 79 the archer's forearm to prevent injury from the bow- string when it was released. No less than nine of these arm-defenses are exhibited in Case io6, and as a series they are probably unique. They date from the sixteenth to the early eighteqnth century, and all are of ivory. Five of them are elaborately incised, showing coats of arms and figures of Saint Sebastian, the patron saint of archers. The short bow, common in southern European countries, was probably introduced from the East. It appears semi-oriental; in fact, most of the speci- mens preserved in museums are of Turkish, Persian, or North Indian origin. Few examples are known which date earlier than the seventeenth century. Especially to be noted, therefore, is an Italian bow (Case 106), which dates from the closing years of the fifteenth or the early years of the sixteenth century. This is interestingly decorated and bears the coat of arms of the Capece-Galeota family of Naples. Its preservation is due to its having been an ex voto to Saint Sebastian: for centuries it was exhibited above a statue in a North Italian church. With this, and of the greatest rarity, is its quiver and a series of ar- rows. It may be remarked that short bows of the present type were formidable arms. They were of great elasticity, having been built up of layers of sinew, wood, and horn. A bow like the present one would have shot a flight-arrow a distance of about five hundred yards, a range considerably greater than the longbow's. In the course of time, the bow of simpler type be- 8o PLATE-ARMOR AND FIRE-ARMS came replaced by the arbaleste, or crossbow, also a very ancient arm, which not only shot a heavier arrow but was in practice easier to aim and bend. The bow itself in earlier arbalestes (Case 17) was a stout affair built up (usually) of whalebone; in the sixteenth century, however, it came to be formed of an arc of steel, so heavy that its cord could not quick- ly be set. Even a heavy hand-lever ("goat's foot,'' pied de hiche) was not easily employed. Mence arose the stirrup-crossbow which was in common use from the end of the fifteenth century (see specimens on east wall of main gallery). In such crossbows a stirrup- like iron, through which a foot was passed, is attached near the bow. By this device, the bow could be held firmly while the archer wound up his windlass with both hands. In general, stirrup-crossbows are large, heavy, and of indifferent workmanship. In rare cases, they were inlaid with ivory traceries and rosettes, and the metal parts were picked out with inset bands of brass. The crossbows which are best known in collections are those which were wound by a eric, a mechanical device using cog and ratchet. When the crossbow was to be wound up, the eric was slid in place over the hind end of the stock. In front of it was a bar which ended in a hook or claw. This secured the bowstring and the cog was now turned by means of a long arm which gave strong leverage. Cross- bows of this type are of three typical sizes: complete {Ganie-), half-sized (Halbe-), and quarter-sized {Viertelr Me stung), the accurate range of these pieces being respectively about 80, 50, and 30 yards, al- PLATE XXXVIII GAUNTLETS, XV AND XVI CENTURIES CLARENCE H. MACKAY, RIGGS, AND DE DINO COLLECTIONS SEE PAGE 72 BOWS, ARROWS, AND CROSSBOWS 8l though of course the bowshot would be several times these distances. In the largest examples, the bow is so short and heavy that it suggests a carriage-spring. It is interesting that the use of crossbows of this type still survives from the Middle Ages. Numerous guilds are known, in which, like the one in Dresden, many of the old crossbows (sixteenth or seven- teenth century) are still in use, and on festival occa- sions the members of the guild shoot at the popinjay much in the same fashion as did their, or for that matter our, forebears five centuries ago. In the present collection excellent crossbows of various types are shown. In some cases, the stock is partly or entirely incrusted with bone or ivory, and richly ornamented. Decorated borders separate the shaft of the crossbow into bands which in turn are often richly incised with scenes and arabesques. A heavy crossbow in the present collection came frorn the Gewehrgalerie of Augustus the Strong. Its metal mountings are of gilded bronze, carefully incised and perforated. It was probably made by a member of the Haenisch family, which has worked for the Saxon court from the sixteenth century to the present day — a case of professional conservatism which suggests the Miochin family in Japan. These crossbows, like the earlier ones, shot heavy bolts or quarrels (Case io6) whose heads, weights, and feathering indicate to what degree the use of the crossbow had become specialized. War bolts had heavy heads shaped like lance-points. Bolts for cutting cordage or rigging had forked heads, sharp as knives. There were many types of bolts with blunted 82 PLATE-ARMOR AND FIRE-ARMS heads; some were for signaling, and whistled as they flew. In many cases, when the shafts were feathered, the ''feathers," which, by the way, were usually of wood, were placed in position somewhat obliquely, so that the bolt rotated around its long axis like the ball from a rifle. A third form of crossbow is represented by speci- mens dating from the middle and late sixteenth cen- tury. These are crossbows a jalet, or prodds, with long wooden stocks, ending usually in a ball, arranged for shooting a pellet of lead instead of a bolt. The string developed a cradle in which the pellet was placed. Such crossbows are light both in stock and bow, and were used for fowling. The present speci- mens are of excellent quality. Their shafts are decorated with inlaid ivory and bone, in some cases richly sculptured and incised. The fmal type of crossbow is a small but heavy prodd used especially during the seventeenth cen- tury (Case 1 06). In this type, the stock was largely of metal, ending, however, in a small wooden butt. The bow was set by means of a goat's-foot leverwhich formed a part of the metal stock. The earlier cross- bow a jalet was set by a wooden pied-de-biche, which was carried separately by the archer. J. FIRE-ARMS OF THE FIFTEENTH TO THE EIGHTEENTH CENTURY Cannon Reference has already been made to two early cannon that are shown in the Gothic division of the main gallery and date from the fourteenth and fif- PLATE XXXIX GAUNTLETS, XVI AND EARLY XVII CENTURY SEE PAGE 72 FIRE-ARMS 83 teenth centuries. One of them is a pierrier, which used stone cannon balls instead of the iron ones in- vented later. Not until the beginning of the sixteenth century, however, did cannon fairly rank as objects of art. At this time numerous founders throughout Europe were producing cannon carefully designed in artistic Hnes. Inventions, too, at this time changed the construction and ornamentation of the pieces. A small cannon shown in Case 46 illustrates an in- teresting phase in the art of cannon-making during the first half of the sixteenth century. This is a bronze culverin prepared by order of Charles V in 1523, and cast in Palermo by a certain Pertus. It is remarkable in having been founded in sections which screwed together. It is decorated elaborately with inscriptions and coats of arms. A pair of small can- non cast nearly a century later are shown near Case 122. These are said to have belonged to a series pre- sented by Henry IV to the Due de Vendome in 1606. Other small cannon are exhibited nearby and in Gallery H 5, borrowed from Theodore Offerman. A cannon of still later date, about 1630 (near Case 61), is an interesting relic of the Turco-Austrian wars. Its barrel is Oriental, made of Damascus steel and bearing Turkish ornaments incrusted in silver. The mounting is Austrian. It is known that these small cannon were often used during seventeenth- century campaigns: they were sufficiently small to be drawn by artillerymen into effective position on the sides of hills. The present example is a gift to the Museum by Rutherfurd Stuyvesant. 84 PLATE-ARMOR AND FIRE-ARMS Guns The collection is rich in guns of the earliest types, i.e., those antedating 1700. Of these there are in all about forty specimens, largely from the Riggs Col- lection. In a general way, it may be remarked that the use of gunpowder for hand fire-arms was developed with surprising slowness. In fact, during the centuries when the most beautiful armor was worn guns were already in fairly common use. The earliest gun, which dates from the fifteenth century, was a hand- cannon, similar in type to the cannon of the period, but mounted at the end of a wooden stave which might be held under the soldier's arm. The gun or heavy end was supported separately by a forked stake which removed in part the shock of the dis- charge, and at the same time aided the user to aim his piece. Such a gun was evidently a crude affair. It could not be quickly reloaded and it was not used very successfully. The one who manipulated it ran a dangerous risk of being cut down before he was able to load and discharge his piece. There was also a curious prejudice against the use of fire-arms, and especially of hand fire-arms: they savored of witch- craft and the sulphurs of Satan. Then, too, people at large preferred old methods, and it was surprisingly long before fire-arms superseded bows and crossbows. Thus, in England, not until Elizabeth's time — when gunpowder appears to have been manufactured for the first time in England — were muskets ordered to replace arrows ( 1 596) — an order which, by the way, DUG DE GUISE (?) PHILIP III PLATE XL GAUNTLETS OF DUG DE GUISE (?) AND OF PHILIP III SEE PAGE 72 FIRE-ARMS 85 occasioned general murmuring in the English army. Still the muskets even in the early sixteenth century were an improvement upon the earliest hand cannon, and in the following respects : they had longer barrels within which the explosive thrust of the powder could be transmitted to the leaden bullet; the gun had de- veloped a kind of stock and butt which could be better supported ; and the mechanism for firing the piece was now a matchlock by which the burning end of the match (tinder in rope form) could by a mechanism be pushed down squarely upon the small pan of powder which led into the gun barrel. The earlier gun, on the other hand, was fired by applying the burning match to the touch-hole by a hand which might not at a cru- cial moment have been the steadiest. Matchlocks, it may be mentioned, were found serviceable during a long period. They were, in fact, retained in use in Japan until the fall of the Shogunate in 1868 (see Japanese Gallery, Case O. 12). In the present collec- tion matchlock muskets, or harquebuses, are shown in Case 87 and in the corner near Case 61. The earliest, however, does not antedate 1550. In gen- eral, the matchlock muskets which have come down to us are not richly ornamented — an exception is the one noted in Case 87, where the stock is elaborately carved and the lock is enriched with silver. Wheellock guns (Cases 62, 87, and 121) came into use in Germany about 1 5 10 and gradually superseded the clumsier matchlocks. In the newly invented gun the cord of burning tinder, with its rapidly changing length and frequent misses, was discarded. The im- 86 PLATE-ARMOR AND FIRE-ARMS proved arm introduced the principle of flint and steel and was so arranged that the fire-stone, which was then pyrites rather than flint, remained stationary, and it was the steel which spun around in the form of a wheel with ribbed or file-like edge. I n such locks, the fire-stone was held in a long-handled wrench or ''hammer" which was lowered by hand so as to touch the steel when the piece was to be discharged. Meanwhile, the steel, or wheel, had been ''spanned," or wound up so that it would revolve rapidly when its spring was released by the trigger. A single wind- ing, it may be mentioned, would allow a piece to be discharged only a single time. Thanks to this newer invention, it became rarer for a gun to misfire, hence the greater practical value of the musket and the ex- tension of its use to people of all classes throughout Europe. Its discovery was hailed as epoch-making: guns became fashionable and great artists were em- ployed to prepare and embellish them. In fact, at no time in the history of fire-arms were more beautiful guns prepared than during the later part of the six- teenth century and the earlier part of the seventeenth century. (Plate L.) The stocks were richly incrusted with bone and ivory, or with various woods; the metal ornaments were delicate, and the barrels and locks were richly carved and gilded. The taste which gov- erned the art of the gun-maker of this period can well be appreciated by examining the objects shown in the north gallery, in Case 87. Three of these, dating from the early seventeenth century, were executed by mem- bers of the Sadeler-Spat "family," whose archives PLATE XLI RONDACHES, XVI AND XVII CENTURIES RIGGS AND DE DINO COLLECTIONS SEE PAGE 72 FIRE-ARMS 87 have recently been studied by Dr. Hans Stoecklein. In these instances, the art of the ciseleur in steel had reached about its highest point of development. The stocks, too, are beautifully executed, and their inlaid or intarsial ornamentation is carried out with a preci- sion hardly excelled in the history of the art. (See design on Handbook cover.) Among the wheellock guns may be examined side by side the works of Italian, French, German, Austrian, and possibly Flemish masters of highest rank. Particularly to be noted is the harquebus dating from the middle of the sixteenth century, French workmanship, admirably designed in the fashion of Henry II. This was one of the capital pieces of the Spitzer Collection. It resembles closely a harquebus in the Turin armory which bears the same initials ''C. S.'' on the barrel; and it may well have been, like the latter, one of a series which belonged to Emmanuel Philibert, Duke of Savoy, and was a gift to this prince from Philip II of Spain. A rare object is the fowling-piece deco- rated with enamel. A beautiful example of the skill of a Brescian armorer is the heavy harquebus with fittings elaborately sculptured in steel. It dates about the middle of the seventeenth century and was executed by Lazarino Cominazzo. This artist and other members of his family attained world- wide fame as gunsmiths. (See middle figure in Plate L.) In Case 87, also, are keys (spanners) of harquebuses belonging to the arms exhibited, and decorated in similar style. Attached to or forming part of keys 88 PLATE-ARMOR AND FIRE-ARMS are sometimes small powder flasks, or primers. These contained a fme grade of powder which was placed in the pan of the touch-hole. The usual powder was of much coarser texture. (See also the primers and spanners in Case 63.) Guns of the type here described are in certain in- stances rifled. It may be remarked that the art of rifling a gun barrel is fairly ancient, dating possibly from the closing years of the fifteenth century. The grooves cut in the barrels were, however, at first straight or nearly straight, and were intended less for the purpose of causing the slug to revolve than for keeping the barrel clean. Different forms of wheellock guns are represented in the present collection, varying from small, light fowling-pieces to siege- or wall-'' cannon." Of the former type there is the Tesching (Case 62) with its long delicate barrel and light stock, which have given rise to the view that it was a woman's gun. The majority of these light guns are of German workman- ship: they appear to have been a favorite arm in the Baltic provinces. Still another form of wheellock has a curious heavy stock bent almost hook-shaped — • the "petronel'' which figures in the revolt of the Netherlands and in the Huguenot wars in France (Case 62). Fowling-pieces, boar-guns, and muskets are represented in the cases noted. In Case 121 are also two heavy wall pieces. One of them, from the civic arsenal of Dantzic, bears fine engravings and numerous inscriptions on inset plates of bone. The latest wheellocks, 1630- 1720, are apt to have their FIRE-ARMS 89 Stocks unornamented, but their locks richly en- graved. In the last case noted are "forks" on which harquebuses were supported in actual use. It is not generally known that many of our modern inventions in fire-arms were foreshadowed at an early period. Thus the wheellock period, roundly between 1520 and 1650, was especially fertile in the results of experimenters. Double-barreled arms were well known. In fact, even in the fifteenth century, hand-guns of two or more barrels appear to have been in fairly general use, as well as ''organ-pipe" cannon, whose many barrels suggest closely in principle the "pepper-boxes" of our fathers' times. Breech- loading cannon were common during the fifteenth century. Revolvers with devices suggesting nine- teenth-century patents were used during the six- teenth and seventeenth centuries. In some of these (Case 86) the outer barrel was single and its base was formed of a chambered cylinder containing numerous cartridges. A not uncommon device in sixteenth- century guns was a double lock to guard against mis- fire: with this there was also an adjustment whereby two charges, one deeper than the other, could be fired separately from the same barrel. An early improvement upon the wheellock was the snaphaunce (Cases 121 and 121 A, nine specimens in all), which was invented during the earliest years of the seventeenth century. This device was in a sense the opposite of the wheellock. In the latter the fire- stone remained in place and the steel moved against it; while in the snaphaunce, the flint was driven 90 PLATE-ARMOR AND FIRE-ARMS against the steel, which moved but slightly. The steel was here arranged as an upright plate, some- times furrowed, which the hammer was to strike, and capable of being tilted at the stroke so that the sparks would enter the priming pan. This later ad- justment, however, was usually complicated, the priming pan opening by means of a spring within or outside the plate of the lock, a complex arrange- ment, but less complicated than the wheellock — for this required to be set by winding it up, and was useless if the *'key" was misplaced, while the snap- haunce could be cocked by a simple pull with one's thumb. As another advantage, it was now shown that the newer form was less subject to misfire. The snaphaunce remained in use but a relatively short time, a slightly improved invention, the flint- lock, taking its place. This appeared about 1630, but was not used commonly for several generations. Not until 1690, for example, did England discard its wheellock musket in favor of the newer type. In the flintlock, the ''steel" was decidedly mobile, the descending hammer itself thrusting the steel from the priming pan at the instant the sparks flew — without the need therefore of springs regulating synchronously the fall of the hammer and the open- ing of the priming pan. In the present collection there are few flintlocks: one sees, however (Case 121), an interesting boar rifle, dating from 1750, orna- mented with incrusted metals of different colors. Near this is an excellent example of a fowling-piece: this is French and dates from the First Empire. PLATE XLIII EDEA, EARLY XVI CENTURY RIGGS COLLECTION SEE PAGE 73 FIRE-ARMS 91 It is said to have been made by order of Napoleon as a gift to Marshal Ney. This, a loan from George Leary, Jr., is the latest gun in the collection. We need only add that from this time onward the study of gun-making becomes especially complicated : for one thing, numberless examples appear. Their merit from the decorative standpoint is, however, no longer conspicuous, though many of them, like the "Mantons'' and "Mortimers," were executed with great technical and artistic skill. Inventions appear continually, and there are constant mechanical changes. Of these we may mention but one, percus- sion-locks. These were invented about 1807, but they did not replace the flintlock until after the year 1834. In the latter year, it was demonstrated that the flintlock was relatively ineffective. Thus a test of six thousand shots showed that the flintlock missed fire nearly a thousand times, while the percussion- lock missed only six. (For arms of this period see the Charles M. Schott, Jr., Donation, Gallery H 7, Cases 121A-121C. Pistols Pistols were in use during as long a time, prac- tically, as guns, and they underwent a similar de- velopment, both technical and artistic. In the pres- ent collection, specimens of the earlier types are alone illustrated. (Plate LI.) European matchlock pistols are almost unknown. Wheellock pistols, on the other hand, are common; they are long both in stock and barrel and, like early pistols generally, often occur in pairs; they were apt to be carried in 92 PLATE-ARMOR AND FIRE-ARMS holsters and were sometimes used by the horseman, one in each hand. The stock was heavy, both to balance the long barrel and to be used inverted as a mace. Wheellock pistols, in general, illustrate the enrichment of fire-arms which occurred during the sixteenth and seventeenth centuries. A familiar form, the Reiter pistol, with a large and heavy ball- butt, is ornamented usually with inlaid work, in col- ored and engraved woods, bone, or ivory. Richly decorated examples of early wheellock pistols are seen in Cases 64 and 86. In the second of these, a double-barreled pistol, bearing the arms of Charles V, belonged to the Madrid collection: it is pictured in a sixteenth-century manuscript catalogue of this armory. Another important wheellock (Case 86), signed by Felix Weerder of Zurich, is traced to the collection of Charles I of England. An elaborate pair of holster pistols (Case 103), believed to have belonged to Henry II of France, is from the collec- tion of Count Pourtales. Some of the early pistols show elaborately sculptured barrels; others have their stocks delicately carved in wood or ivory. Of the latter type is the pair of Dutch wheellocks shown in Case 86, and there is a similar pair of flintlocks in Case 64. Here, also, are several examples of Brescian workmanship, richly executed in steel in the school of Cominazzo. To be noted in the present collection of pistols is a pair of early Scotch holster wheellock pistols or "dags,'' dated 1607 (Case 12 iC). Flintlock pistols are represented in but few in- FIRE-ARMS 93 Stances (Cases 121, 121 A, 121 C). Some are Brescian, dating from the early eighteenth century, and French, like those prepared by Le Hollandais, dating from the latter part of this century. In such examples the butts have attained nearly the form of the modern pistol and the size of the arm has become greatly reduced. In earlier types, small wheellock pistols (in the same case) are very rare. Powder Horns and Primers Containers for powder (Plate LI I) were ever included in the outfit of hunter or musketeer, and in their quality they corresponded to his arms. Horns of cattle, ibex, deer, and chamois were apt to be em- ployed as the basis of these "powder horns'' and were frequently richly mounted in metal. In some in- stances, the containers were boxes, angular, spherical, or pear-shaped, made of wood, ivory, metal, or hard- ened leather (Case 63). Beautiful examples of these are shown in Case 10 1 . Some of them are elaborately carved in sections^ deer antlers, and one is in bronze, gilded, in the shape of the section of deer antler, and contains a compass and a watch. In many cases the metal mountings are beautifully wrought. In some of these "horns" or "pears" the art of the worker in hardened leather is well shown. Especial note should be made of a powder horn dating about 1 560, bearing the coat of arms of the Asiniere family. The majority of the objects in this case date from the second half of the sixteenth century. Other powder horns or pears are seen in Case 63. Among the most important of 94 PLATE-ARMOR AND FIRE-ARMS these is a horn dating about 1 720, in cut and pressed leather, which is one of the best of its kind. In the same case are numerous primers with or without the spanners, or keys for winding the wheellock. There are also bandoliers (Case 62) which belonged to the guards of the Saxon electors, Christian I (i 560-1 591) and Christian II. The bandolier is a shoulder strap covered with black velvet, fitted with bronze-gilt clasp and buckles, and hung with a series of containers for cartridges. At that period each load was already made up, containing powder and the needed wad, ready to be slipped into the barrel of the harquebus. From such a bandolier slung also containers for bullets or slugs, wads, and priming powder. It may be mentioned that cartridge boxes were also in com- mon use from the late sixteenth century onward (Case loi). These are sometimes richly decorated — embossed, engraved, and gilded. It may also be men- tioned that in some instances cartridges were stored away in the butt of the wheellock guns, either at the base, which was covered by a metal flap, or at the side, where a small pocket was present, covered by a sliding lid. In this pocket the musketeer might keep his reserve blocks of pyrites. K. ARMS AND ARMOR OF THE SEVENTEENTH CENTURY It was during this century that armor was generally discarded. Even in its earliest years, complete suits of armor were rarely worn. (Plate XXXII.) Both noble and commoner realized that the advantages gained PLATE XLV SWORD POMMELS, XV AND EARLY XVI CENTURY RIGGS COLLECTION SEE PAGE 68 ARMOR — SEVENTEENTH CENTURY 95 by wearing armor poorly repaid the discomfort which it cost. Then, too, the great changes which the use of wheellock muskets and pistols brought into actual warfare made it of little practical importance whether the armor was made by an artist-armorer or by a local blacksmith. Hence, armor rapidly lost its interest as an object of art. Its main virtue was based upon the weight of its metal, for head-piece or corselet was to be so constructed as to withstand the impact of a musket-ball at a relatively short distance. Un- less, indeed, armor could do this, it had little worth. So it came about that a purchaser or wearer inquired less often how little a harness weighed or how ac- curately it fitted: he wished rather to know whether it really withstood gunshot. In answer to this ques- tion, therefore, the maker would be apt to show at some point of his armor the actual imprint of a test ball. Sometimes, the marks of several bullets would appear on breastplate, backplate, or head-piece. Should, by chance, the armor prove a decorated one, the imprint of the musket-ball would often be drawn ingeniously into a scheme of ornamentation. In Cases 1 18 and 120 are two half-suits of armor in which these testing marks appear. In a general way, harnesses of the early years of the seventeenth century resemble those of the last years of the sixteenth. They are, however, made of heavier metal, less carefully finished, and their form is ungainly. The modeling of the armor for the legs is poor, and a series of joints in the ankle region affords movements which in earlier armor were made g6 PLATE-ARMOR AND FIRE-ARMS possible by the accurate fitting of the plates to the calf and ankle. There are two tendencies apparent in the evolution of armor of this time: the enlarge- ment of the shoulder defenses and the lengthening and widening of the thigh plates. In fact, by the middle of the century, the thigh plates become great- ly exaggerated in size. This change was reflected from the fashion in dress, for the thigh defenses were designed to inclose the wide-hipped leg-gear of the period. To accomplish this the tassets merged with the cuissards: in earlier examples the tassets were attached to the banded cuissards by means of turn- ing pegs; in later ones no line of separation remains. So exaggerated did this style become that the wearer was given wide and long hip-armor even at the ex- pense of reducing the corselet: hence arose the short- breasted breastplates of the time of Charles II and James II (Cases ii6, 130, 131). This reduction in the size of the corselet tended obviously to make the wearer appear narrow-chested: hence, to restore rela- tive proportions and at the same time to strengthen the corselet, the shoulder guards became greatly en- larged, their sides broadly overlapping back- and breast-plates. The closed head-piece in the early seventeenth cen- tury difl'ers little, save in the weight, from the helmets of the later years of the sixteenth century (Case 117). Burganets, however, increased largely in use, but developed highly specialized forms. Thus, by the middle of the seventeenth century, the back of the burganet, which formerly was shaped closely to the PLATE XLVI POLE-ARMS, XVI AND XVII CENTURIES RIGGS COLLECTION SEE PAGES 76, 77 ARMOR — SEVENTEENTH CENTURY 97 nape of the neck, flared out behind like the back of a fireman's helmet (Case 129). The ear- or cheek- piece, too, changed in type: it became reduced in size and was usually formed of a single triangular plate. A visor, or buffe, was replaced by a simple bar of steel which was fastened in place in front of the nose. The rudiment of the older visor still appeared, however, in an umbril, or forehead plate, which could be rotated slightly up or down, furnished with a flat brim and supporting the nasal guard. Variations in this head-piece are numerous. Some were hat-shaped; some were mere hat- linings, which became lighter and lighter until they were made to fold, when not in use, and slip in one's pocket (Case 129). At the opposite extreme was the miner's helmet which (Case 1 32) sometimes weighed thirty pounds. This was especially con- structed so that a soldier in the trenches could thrust up his head — ^with moderate safety — within close range of the enemy. In some instances these helmets were so modeled that the openings for the eyes were reduced to holes, and margined above with curious ridges which gave this type of head-piece the appearance of a skull — hence its name "death's head burganet." During the Thirty Years' War, which ended about the middle of the seventeenth century and was con- temporary in part with the Puritan Revolution in England, the use of armor still further declined. De- fenses for shoulders and arms were gradually aban- doned and there remained only the corselet and 98 PLATE-ARMOR AND FIRE-ARMS casque. These were the pieces which furnished the regular equipment of a horseman during the reign of Louis XIV. The corselet was straight-waisted, flat in the breast and round in the shoulders, held in place by wide metal-plated shoulder-straps. Several good examples of breastplates dating from this time appear in the collection: one in particular (Case 1 19) is a corselet of the state guard of Louis XIV; and with this is placed a ceremonial casque and shield made for the roi soleil at the Gobelins, and decorated in bronze-gilt, probably by Boulle. This type of armor, it will be recalled, has survived in a few regiments until our own times. Exceptional cases of conserva- tism are to be noted: oificers wore half-armor throughout the second half of the seventeenth cen- tury and even during the eighteenth century. This armor, however, was regarded somewhat as a cere- monial uniform: it was poorly executed, the metal was thin, made in sheets which had been rolled into their present thickness, and the corselets and arm- pieces were remarkable rather from their showy rivet heads and varnished colors than from their useful- ness. This is the type of armor shown so often in portraits dating from the reign of Louis XV, and even Louis XVI, and it is quite possible that half- suits of it were brought to America by our French allies — for Rochambeau is described in a contem- porary poem as 'in shining armor clad.' In general, though, regimental armor had quite disappeared by the middle of the eighteenth century. In the armies of Frederick the Great, or in the French PLATE XLVII WAR HAMMERS AND MACES, XV AND XVI CENTURIES RIGGS AND DE DINO COLLECTIONS SEE PAGE 68 ARMOR — SEVENTEENTH CENTURY 99 and Indian War and the American Revolution, there remained but a single rudiment of the complete armor of former centuries. This was the little gorget plate (Case 133) which hung by string or ribbon on the oificer's breast. Such an ornament one sees, for ex- ample, in the earliest portrait of Washington. Before leaving this theme we should note that the armor of the latest period was as decadent in its type of decoration as in its form or its material. Brightly burnished ''white'' armor, for one thing, disappeared. Most of the harnesses came to be blackened by a process similar to the modern one of ''case harden- ing." Only rarely one finds (Case 124) the survival of the more ancient blued or russeted harnesses which were so common during the second half of the six- teenth century. The latest harnesses, as we stated above, owed their colors oftener to overlaid varnishes than to the older and time-consuming processes of bluing by heat or by chemicals. It might finally be remarked that as plate-armor came to be discarded there was redeveloped an armor of leather (Case 116) somewhat after the fashion of the thirteenth and fourteenth centuries. Thus, dur- ing the time of Louis XIII or of Cromwell there ap- peared buff-leather coats with long skirts, which proved to be a serviceable defense against thrusts of sword or pike. Below the bufi'-coat the legs were protected with heavy jack-boots. The hands were encased with gauntlets which were long-sleeved, reaching quite to the elbow; the earlier ones were steel, the later of buff -leather. It may be noted that 1 00 PLATE-ARMOR AND FIRE-ARMS leather defenses for the body were worn regularly even at an earlier period than the middle of the seven- teenth century. The pourpoint shown in Case 74 dates from 1 590. This could have been worn under a peascod breastplate, though as a heavily padded defense it was sometimes worn alone. This we know from portraits of the period, and from the fact that pourpoints were carefully decorated. In the present specimen ornamental needlework is present and bands delicately woven with silver threads. The arms of the seventeenth century include guns and pistols in notably large proportion, also pikes and halberds. Smaller arms are disappearing, such as maces, war hammers, daggers. Swords alone re- tain their relative number. Guns at this time included (Case 121) a variety of harquebuses, muske toons, and hunting rifles. In general, their decoration was poorer in quality than during the earlier century. For one reason, the wars in the seventeenth century had impoverished people generally; the nobility had sufi"ered serious reverses and the rise of the commoner had not yet brought to him a taste for refined luxury in military equipment. Guns and pistols are less elaborate; and powder flasks, primers, and spanners (Case 63) are designed for service rather than display. Pistols (Case 64) appear at this time usually as large holster pieces, notably of the form called "dags, " whose heavy butts could be used as maces after the pieces were dis- charged. Pole-arms lost much of the elegance of the two pre- PLATE XLVIII DAGGERS, XIV, XV, AND XVI CENTURIES DE DINO COLLECTION SEE PAGES 58, 73 ARMS — SEVENTEENTH CENTURY lOI ceding centuries. And one has only to compare the elaborate halberds of various forms (Cases 69 and 70) with those on the north wall of the main gallery to realize that the age of luxury in arms had passed away. In general, the pike with its short head and long shaft was taking the place of the large-bladed halberds of earlier times. The second characteristic pole-arm of this period was the partisan, which was a derivative of the "ox- tongue" pole-arm of earlier times; it differed mainly in the greater size of its lateral hooks or lobes; for these sometimes became of large size and their borders developed serrate margins. The last surviving pole-arm was, as already noted, the spontoon, carried by non-commissioned officers, especially between 1700 and 1750. It was a small partisan, the head sometimes only two inches long; it was designed less for service than for ceremony. (See the series in the two stands against the north wall of the main gallery.) The sword during the seventeenth century (Cases 61, 122, and 125) came to acquire the style of hilt which is familiar to modern soldiers. At the begin- ning of the century the handle retained the numerous loops, rings, and bands of the sixteenth century, sometimes "swept hilted'' with curving supports passing from the pommel end of the knuckle-guard to the region of the base of the blade. From this stage onward, the loop- and ring-shaped supports undergo an interesting evolution, for, passing in review a series of later swords (Case 125), we may see how little by little these elements become transformed. 102 PLATE-ARMOR AND FIRE-ARMS Thus, the front rings of the guard, i.e., those further from the hand, soon take the lead in this develop- ment: each becomes filled in with a perforated plate, then increases in size, its perforated plate becom- ing convex. The guard is next transformed into thebi-lobedcup, and from this form it passes step by step into the single cup-shaped guard characteristic of the Spanish and Italian rapiers of the middle of the seventeenth century. From this stage, a series of changes transforms the guard into a flattened shield-shaped plate, sometimes circular, sometimes divided into halves. Then, little by little this plate becomes reduced so that by the end of the seven- teenth century the guard of the familiar court sword is attained (Case 133). The earlier sword-hilts, even in the most luxurious arms, were rarely of any other metal than steel. Their great luxury consisted in inlays and overlays of precious metals. By the end of the seventeenth century, however, hilts of silver and gold made their appearance. The blade, which in the earlier seventeenth century, is for service in war, becomes reduced by the end of this century to a small-sword," shorter and more delicate, designed rarely to be used. The improvement in the general social conditions of Europe during the later part of the seventeenth century is reflected in the reappearance of luxurious arms. In Case 127 is shown a series of these weapons used for hunting. The hilts in some instances are of ivory, or gilded bronze, or are incrusted with silver. The blade in many cases is elaborately engraved. I I PLATE XLIX DAGGERS, XVI CENTURY DE DINO COLLECTION SEE PAGES 73, 75 HORSE EQUIPMENT IO3 sometimes with calendars. In such arms the sheath is often a "trousse/' containing knives and forks and sometimes special instruments for cutting up the game. Daggers, as already stated, were in less frequent use. The commonest form was held in the left hand (Cases 82, 125). This type, the main gauche, was developed in a special school of fencing where the parrying was aided by the dagger. These arms corre- spond closely with their swords. They are sometimes provided with irregular or saw-shaped backs which were used for catching and deflecting a sword-blade. L. HORSE EQUIPMENT DURING THE SIXTEENTH AND SEVENTEENTH CENTURIES Horses in full panoply, with crupper, peytrel, cri- nets, and chamfron were, as already noted, common in the first years of the sixteenth century. They were most abundant toward the middle of this century. From that time their use gradually diminished until by the year 1600 horse armor was relatively rare. It was, however, continued until about 1700. The last examples were of poor workmanship, formed of rolled steel, and usually crude in outline and decora- tion (see equestrian figure at the north end of the main gallery). In the present collection, horse trappings of various types, some richly engraved, etched, and gilded, are seen in Case 83, and in the series of chamfrons hung on the columns of the main hall. The earlier chamfrons were the most complete: they extended well over the nose-region of the horse and were furnished with plates which passed below 104 PLATE-ARMOR AND FIRE-ARMS the eyes and protected the cheeks. During the last decades of the sixteenth century thechamfron was in some instances so reduced in size that it covered scarcely more than the forehead of the horse (see one of the equestrian figures). Bits and stirrups (Plate LIV), however, seem to have increased in size and become more richly decorated as the horse armor declined. The stirrups of the seventeenth century were of great size, and sometimes bore elaborately pierced ornaments. This, too, became the style in the development of bits: in some instances, they were almost like panels of lacework (Case 128). Saddles underwent an interesting development. During the sixteenth century the rider was well protected in front and rear by the high pommel and cantle of his saddle. These were usually reinforced with plates of steel and decorated in the same style as the horseman's armor. In general, the saddles were cumbersome affairs, provided with elaborate housing (Case 83), richly mounted in velvet, bordered with fringe, and ornamented with embroidery and galloon. In rare instances, especially in the seven- teenth century, the saddles were plated with bone, incised with ornamental borders and scenes, the en- graving filled in with black, somewhat in the style of the gun-locks of this period (Case 128). M. BANNERS Banners were developed at an early period as aids to recognition. By their means bodies of armored men identified one another at a distance. In later PLATE L GUNS, XVI AND XVII CENTURIES RIGGS AND DE DINO COLLECTIONS SEE PAGES 86, 87 BANNERS 105 times the banner signified a rallying point, a promoter of safety, and a bond of unity. Hence it became of sentimental importance: it symbolized the family, the clan, or the nation. Ancient banners have in very few instances come down to the present time. The material of which they were made was perishable and many a prized relic of ancient wars has literally fallen into dust. There appear to be no examples extant of the small pennons of the Middle Ages. In Spain, there are preserved several trophies of the Moorish wars (fifteenth century). In the famous Zeughaus at Solothurn is a series of the banners taken by the Confederates from the Burgundians during the late fifteenth century, and in other Swiss cities similar specimens are recorded. Flags dating from the sixteenth century, many of them either in the poorest preservation or so largely restored as to be almost new, are exhibited in various European mu- seums. In well-known collections, seventeenth-cen- tury banners are not uncommon, especially those which belonged to guilds and churches; and eight- eenth-century banners are preserved abundantly. In a general way, however, banners are among the most difficult objects to collect. For reasons of senti- ment they rarely find their way into private hands and still more rarely into the market. When a national banner is sold, it usually passes back to its nation, at any cost. In the present galleries, the series of banners rep- resented is fairly large, upward of seventy specimens being shown, but it could hardly be called represen- Io6 PLATE-ARMOR AND FIRE-ARMS tative. The most valuable specimen is the small Italian pennon (Case 46 A) which was presented Mr. Riggs about 1858 by the Marquis de' Medici of Turin with the record that it had belonged to Pope Leo X (about 1520), whose arms it bears. A part of a fif- teenth-century banner is shown in Case 17, which was discovered in a tomb in Valladolid in 19 10. It is of linen, bearing in embroidery a blazon and a series of letter S's in black and gold. Still another early banner is carried by an equestrian figure. The re- maining objects of this kind in the collection date from the seventeenth and eighteenth centuries. Around the main hall at the tops of the columns one notes : South Side: Swiss (or Savoyard) banner, early eighteenth century; Spanish banner, eighteenth century (only a part authentic). East Side: Swiss banner, eighteenth century; Swiss banner, eighteenth century; Flemish banner, late seven- teenth century; Spanish standard, eighteenth cen- tury. West Side: Swiss banner, eighteenth century; Sienese banner, eighteenth century; Flemish banner, dated 1823; Portuguese banner, eighteenth century. North Side: Venetian banner, eighteenth century; banner showing the arms of the Medici, early eighteenth PLATE LI PISTOLS, XVI AND XVII CENTURIES MAINLY RIGGS COLLECTION SEE PAGE 91 BANNERS 107 century, from the Villa Toscana of the former arch- duke, Johann of Austria. In the long north gallery the following banners appear: South Side (beginning from east end) : French, end of eighteenth century; French, nine- teenth century; EngHsh (?), seventeenth century; Flemish, seventeenth century; Flemish, seventeenth century; Sienese, seventeenth century. North Side (beginning from the east end) : French, eighteenth century; Spanish, eighteenth century; Swiss (or Savoyard?), eighteenth century; Spanish, eighteenth century; French, eighteenth cen- tury; Swiss (or Savoyard?), eighteenth century. An interesting banner is hung in the corner of the main gallery, near the entrance to the Japanese Armor Hall: it was carried by the guard of Alexan- der VIII about 1690. IX QUESTIONS ABOUT ARMOR: ITS WEIGHT AND SIZE HOW heavy is a suit af armor? Was it vastly uncomfortable? Was he who wore it smaller or larger than the average man today? Was he stronger than a modern athlete? The visitor to the armor gallery is apt to ask one or all of these questions, which, though of only secondary interest in the matter of art, are well worth answering. Yes, armor was heavy: a complete suit weighed from fifty to a hundred pounds, and a horse would have car- ried a similar weight in its armor alone. In the best period of workmanship, say 1450 to 1500, a harness weighed least in proportion to the protection it offered. Its plates were graduated in thickness, heavy only at the points most exposed. Still, at the best, it was uncomfortable to wear. Its weight in metal, its linings, paddings, fastenings, together with the underclothing which accompanied it, made it a. hampering and heat-retaining costume, which should be worn by a questioner in order to be fully appre- ciated. Shakespeare, who doubtless knew his theme at first hand, talks of "rich armor worn in heat of PLATE LII POWDER HORNS, XVI AND XVII CENTURIES RIGGS COLLECTION SEE PAGE 93 QUESTIONS ABOUT ARMOR IO9 day which scalds with safety/' But we must admit that most of the heat would come not directly from the sun, but from the oxidizing processes of the wearer; for bright armor reflects heat rays like a polished mirror. And he who stands in front of a hot, open fire and puts his hand on the cool, bur- nished andirons, will not expect that armor in itself would "heat up'' in the sunshine and thus burn the wearer. The trouble was rather that armor did not let the natural heat of the wearer escape by radia- tion. So he perspired freely — and made the best of it. For the armor gave him such protection in time of need that the rest did not count. To get air for breathing was a serious problem, and records tell us that knights sometimes suffocated in their helmets; for with visor and ventail down breathing was seri- ously hampered, and a head-piece which could be comfortably worn under average conditions might become dangerous if the wearer were nearly ex- hausted — when his breathing was rapid and super- ficial. Then, too, the danger was greater since the head-piece, which was put in place securely for hard service, was sometimes difficult to remove. In this regard, I recall an incident which is so much to the point that I am tempted to tell it. During the Second Empire, a distinguished collector of armor appeared at the Goupil ball in a complete suit of sixteenth-century armor (the one, by the way, in Case 49). It fitted him admirably, and he wore under it a copy of the clothing which would orig- inally have accompanied it: in a word, his physical no QUESTIONS ABOUT ARMOR envelopes were accurately ''of the period." There- fore, if armor were worn with moderate comfort, it should have been demonstrated in this case, espe- cially since the wearer was then in his prime and in good training. Nevertheless, the armor proved more than burdensome: it seemed to gain steadily in weight as the night wore on, and the difficulty in breathing in a closed helmet became ever greater. To add to his distress, the wearer found at a critical moment that he could not raise his visor — something had gone wrong with the ancient spring-clasp — and he would probably have been overcome, had not a good friend (who by the way was Fortuny, the painter) come to his rescue! On the other hand, it is probably true that after special training armor can be worn without great effort. Experiments made by the writer convince him that the weight of the suit is distributed in the most logical way. The shoulders bear the weight of arm defenses and casque, the waist supports the corselet and hip guards, and the thighs retain com- fortably the leg defenses. One does not realize at first how heavy a weight he is bearing. And his movements are singularly free. He can bend, stoop, drop to his knee, and use his arms quite normally. He realizes then the care with which the early armorer devised the shape and joints of the individual plates so that the greatest latitude of movement could be given, at the same time keeping the elements of the armor close to the body and insuring the maximum protection. If the wearer happens to be a zoologist. PLATE LIII HORSE ARMOR, ABOUT I RIGGS COLLECTION SEE PAGE 62 QUESTIONS ABOUT ARM OR I I I he feels safe in suggesting that the ancient maker had closely studied the outward anatomy of certain crustaceans. Training was certainly necessary if armor was to be borne for hours at a stretch. Thus the mediaeval soldier spread his experience out over considerable time; he began his training during boyhood and liter- ally grew up in his armor. In fact, suits of armor for boys of various sizes are well known — there are no less than five of them in the present gallery. This constant exercise, we may fairly conclude, kept an armored knight lean and active. 1 1 is noteworthy indeed how large a proportion of the harnesses which have come down to us are made for men with narrow waists; some are surprisingly slender, but to com- pensate for this the shoulders seem to have been of ample width. Thin legs and small ankles were com- mon among wearers of armor, in numbers which today seem unusual. As to the size of the men who wore armor, my conclusion is, after measuring fifty or more harnesses, that the average size of the man of middle or higher class (for few owned armor who were not fairly well- to-do) was smaller in the fifteenth and sixteenth cen- turies than it is today. But the answer to this question is not a simple one. If the armor studied were all from a single country, the problem would be easier. It is certainly unfair to generalize about the increased size of modern Englishmen from data con- cerning sixteenth-century Spaniards. Then, too, as Lord Dillon, long time director of the Tower armories. 112 QUESTIONS ABOUT ARMOR poiats out, it is difficult to estimate the height of the man who wore the armor since it is always fair to assume that the armor about the hips may have been worn higher or lower, and this would make possible a margin of error of several inches if we attempt to estimate the height of a person from the measurements of his armor. Let us grant that the wearer of ancient armor was a smaller man, lean and active: was he proportion- ately stronger than a young officer today? This again is a question which cannot be answered pre- cisely. We believe that he would do in his armor what few modern athletes could, without special training. And we are convinced that he stood the strain longer and under greater mental and physical stress, but only on account of his experience. It is clear from statistics, at least as far back as statistics take us, that modern muscular effort, not to consider mental, is on the average the stronger. The revival of international athletic games has brought out clearly that the modern prizeman breaks earlier rec- ords, even in throwing the discus or casting a javelin. Still, it would be interesting to see if today the aver- age officer, English, Spanish, or German, could vault over his charger if he were weighed down with armor. Their predecessors in the fifteenth and sixteenth cen- turies are said to have been able to do this, but, alas, there was no Galton in those days to record precisely what proportion of the officers were successfully trained ! PLATE LIV STIRRUPS, XVI AND XVII CENTURIES RIGGS COLLECTION SEE PAGE 104 X JAPANESE ARMS AND ARMOR JAPAN is hardly second to Europe in furnishing artistic examples of Armor and Arms. They are more accessible, for one thing; for while the work of the European armorer virtually ended over two centuries ago, armor was used in Japan until about 1868, when the ancient feudal regime came to its end. For this reason, in part — that is, since Japanese armor still lingers in considerable quantity, and more or less in its original surroundings — we may examine it from many points of view. We may learn how it was made and worn, how it was tested, preserved, repaired, decorated, how it was treasured, what was its significance in the community and upon its wearers — its cult, so to speak. In a word, we may know arms and armor today in Japan much as we might have known them in Europe had we lived two centuries ago, in spite of the fact that in Japan the newer cul- ture ruthlessly cut away many links which bound them to earlier times. Young Japan, indeed, took no pains to preserve armor and arms, still less to record at first hand the great body of ancient mili- 113 114 JAPANESE ARMS AND ARMOR tary precepts; and with complete change of interest the sons of samurai grew up, knowing nothing of the training in technical matters which their fathers and grandfathers regarded as of real, even vital impor- tance. I remember meeting in Japan a nobleman, who was a daimyo, de jure, of the highest class, whose forebears included some of the most distinguished personages in the ancient wars of Japan, and whose father, he told me, had borne armor, but who him- self knew as little about it as though it had become extinct centuries ago. I met samurai who did not know the manner of wearing the swords of their fathers, who in their day would probably have com- mitted suicide, as a ceremonial duty, had their mili- tary equipment been officially criticized. So quickly does the memory of details die. In fact, even a few years ago one could have recorded interesting facts and traditions which today are gone forever. In Japan, in 1900, I found there were still living several armorers, including a member of the historical family of Miochin, all of whom had made harnesses for ser- vice: when I revisited Japan five years later these artists had died, and their families, who were poor, had already sold for a trifle the old sketches, imple- ments, and books. At that time suits of armor were found in nearly every curio-shop, but they were usually of late period and of poor quality. Thus in one shop several hun- dred suits were examined, but none were found to be worth purchasing. Good armor was rare, and had been rare for several decades; when exceptional ob- JAPANESE ARMS AND ARMOR II5 jects came into the market they were bought up eagerly by the few amateurs. In a general way it is well recognized by the Japanese that armor for many centuries proved an excellent groundwork for the expression of their art.. Thus it provides some of the best examples of their metalwork, whether in steel, brgnze, or gold; and for its mountings it introduces some of the most beau- tiful textiles, in damasks, cloth of gold, and braids, and with these decorated leather of great merit, perhaps the best of its kind. Armor, too, has ever been a medium for illustrating heraldry,^ and it teaches hardly in less degree the symbolism and religion of ancient Japan. In another direction, un- fortunately less interesting to the average museum visitor, the armor and arms of Japan give important data as to the origin and development of the culture of Eastern Asia, and as to the relationships of its peoples. In spite of these attractions, all must admit that the objects in this field, armor especially, have as yet been given but little attention by western scholars and by lovers of Japanese art. But they will also admit that they have seen few examples important enough really to interest them. Nevertheless, Japanese sword-guards and swords are to be seen in almost every city in the world, but there are few among them which rank even in the second class. Arrow-points and lances there are in plenty, almost 1 Note the mon (crests) on the ceiling of the Japanese Gallery and com- pare the explanatory plate. No. LX. Il6 JAPANESE ARMS AND ARMOR everywhere, and Japanese suits of armor by the score — of late date, mainly after 1750, and usually of poor or uninteresting workmanship. In spite of the abundance of these objects as a class, relatively few examples of the best quality seem to have found their way out of Japan. It is safe, indeed, to say that, even today, these objects can be understood to good advantage only in Japan, since here one fmds both the material for study and those who have carefully studied it. The most valuable collections are ex- hibited in the Imperial museums in Tokyo (both at Ueno Park and at Yushiu-Kwan), Kyoto, and Nara. There are also a few interesting specimens at the School of Fine Arts (Bizitsu-ln) in Tokyo. But many of the most remarkable and earliest objects are pre- served in the storehouses of temples, Buddhist or Shinto, scattered widely throughout Japan. Such, for example, are found at Nikko, Miyanoshita, Matsushima, Yamada (Futami), Chyusonji, Yoshino, Koyasan, Kyoto, Kasuga (Nara), Sendai, Itsuku- shima, Kagoshima, and especially at the ancient Shinto shrine of Omishima. Here in a little island in the inland sea are still large numbers of harnesses and arms dating between 1200 and 1 500, which were preserved as ex votos. Late arms and armor of ex- cellent quality can be seen, by the courtesy of their owners, among the treasures of princely families, e. g.. Date, Ikeda, Maida, Tokugawa, and Uesugi. Private collections are numerous and valuable, especially in Tokyo and Kyoto, but few of them are representative. JAPANESEARMOR II7 For our present review we may consider under distinct headings: A Armor B Swords (and sword-guards) and Daggers C Pole-arms D Bows and Arrows E Guns, Pistols, and Cannon F Horse Armor A. JAPANESE ARMOR At first glance Japanese armor seems as distinct from European as the East is from the West; in fact, this is what one might have predicted without having seen the armor, guided merely by the general prin- ciple that, from our point of view, the Japanese do everything by opposites. Thus their armor is light, loose-fitting, with wide shoulder pieces, separate and dangling skirts, and a broad neck defense; it is bright colored, wonderfully tissued with silken braids and cords, and set off with leather stamped in many tones. In Europe, on the contrary, armor is twice or thrice as heavy as Japanese, fastened with plain, dull straps, close-fitting and usually of uncolored steel. In our present exhibition the contrast strikes us so sharply as we pass out of the European gallery that we may well query what has caused the difference in type. We find, as a partial explanation, that the Japanese harness is an instance of "arrested development'' — for the rulers of Japan were for centuries conserva- tive; they venerated the past and maintained its military customs even minutely. To them the golden Il8 JAPANESE ARMS AND ARMOR age in heroism, not to mention that in beautiful arts, dated six to eight centuries ago. The armor of that age was the best that had been made, and never, they agreed, had better use been made of it than between the days of Yoshitsune and of Nitta Yoshisada. The early art of war which developed the longbow, long-spear, and long-sword was quite modern enough, and such devices as guns or heavy armor in the European style were looked upon with disfavor. So while changes did occur, they were apt to be in details of equipment rather than in essentials. Indeed, it is clear that the type of Japanese armor could not have remained long unmodified if certain European arms, such as the war axe, morgenstern, or mace, had been largely used. Somewhat analogous forms occurred, it is true, during different periods, but their use seems to have been generally discour- aged. The local horse, too, seems to have helped to maintain the armor in its early fashion. For it was small in size, like many insular animals, and was in- capable of carrying the heavy-armed European knight — its temper, too, appears to have been quite irregu- lar, and a rider, even without cumbersome panoply, had sometimes enough to do to manage it. Then, too, the fashion of fighting, which was maintained conservatively, made light and very flexible armor the more necessary: this hampered its wearer as little as possible in the use of the noble arms; it allowed him intense activity; it did not even concede him a shield as an excuse for slower movements. This armor was, in short, the best defensive costume which JAPANESE ARMOR I I9 the adroit Japanese could devise against the use of sabre, spear, and arrow. Hence it developed as a deftly woven complex of steel plates, leather splints, and chain-mail held together by rawhide and silk. It was, in a word, reminiscent of the panoply which Europe had devised during the twelfth, thirteenth, and early fourteenth centuries, when knights wore banded mail, ailettes, and cuir-bouilli. Earliest Arms and Armor Much has been learned of the earliest military equipment through the archaeological studies of the past three decades. During this time the Japanese governmental experts have explored numerous tumuli and their findings are constantly being published and analyzed. Their results show clearly that the earliest arms fall into at least three groups: (i) aboriginal, which is largely Ainu, a race represented today only in scattered villages in the northern island of Japan, (2) Malayan, and (3) Chinese- Korean. The Ainu ele- ment includes to a large degree the Stone Age fmds (Case 0. 9 A), which illustrate celts, arrow-points, and war-hammers. The Malayan element left its type of ornament upon early swords and spears, while it de- veloped such military customs as tattooing and head hunting — in this regard we may mention that the Japanese war saddle of a few generations ago retained the loops from which the heads of the enemy were to be hung. The Chinese- Korean element produced the padded garments and helmets of cloth, the type of which survives in the costume of the temple dance. 120 JAPANESE ARMS AND ARMOR hungakuodori (note head-dress near Case 0. 41) ; also in jazerans of metal plates (Case O. 40) and in hal- berds. And upon these various foundations the Jap- anese built up their national equipment. This was al- ready differentiated both in bronze and iron by the seventh century A.D., as numerous "documents" in- dicate. Especially illuminating upon this point are the pottery figures, isuchi-ntngyo (Case O. 7), which are found in numbers on tumuli as substitutes for hu- man sacrifices. Thus we may picture (Plate LV) a Japanese warrior of 600 A.D., or even earlier, as bear- ing a corselet made up of iron plates riveted together, a longish casque with a brow peak, built up of radial bands of iron, apron-like thigh defenses, wide shoul- der guards (probably of leather), and leathern arm defenses. He carried a longbow. His sword was long, straight, single-edged, having a pear-shaped pommel and an ovate guard. He sometimes carried short sword and dagger, with inconspicuous guard and pommel (see the objects in Cases O. 2 and O. 3). It may be noted that the heavy corselet of this period opened at the side, a large plate becoming detached, thus leaving a space through which the body of the wearer could be admitted. This plate survived al- ways as the watagami in armor of the princely class (see this element in the armor in Cases O. 5 and O. 27). In general, however, Japanese armor has ever been built up of scales. In the Bronze Age and Early Iron Age, jazerans (p. 25) were worn, in which the scales were laced together at their sides. By this procedure. PLATE LV JAPANESE ARMOR CENTURY (or EARLIER) SEE PAGE 120 JAPANESE ARMOR 121 they were arranged in bands or rows — somewhat as we have seen them in Roman harnesses. And these rows were next hung one above the other by cords of doeskin, cotton, or silk. This type of armor was in general use by the eleventh century. And the equip- ment of this period we can the better understand since specimens have been preserved in Japan which still exhibit the various trappings. The best of these specimens, dating from the Fujiwara period (roundly 800-1 100 A.D.), is unquestionably the one preserved in the Shinto temple of Sugata-no-Miya. (Plate LVI.) Its scales, one of which is exhibited in Case O. 9A, are large, made of heavy lacquered rawhide. Its breast defense is covered with stamped leather; it has four wide, apron-like hip- and thigh-defenses; its shoulders are covered by square shield-like elements, or sode. Its helmet has a huge neck guard, the bands of which roll outward in the ear region, protecting the face at the sides; the bowl of the helmet is heavy, made up of about eight radial elements: as an ornament two leaf-shaped plates arise in the region of the fore- head, like horns, or antennae. From this time onward few essential changes ap- pear in Japanese armor. Thus in the next, or the Kamakura period (i 100-1336), as we know both from contemporary drawings and from actual har- nesses, the ceremonial armor {p-yoroi) differed little from the example just described. In the present collection this may benoted (Case O. 5, Plate LVI I) in a remarkably preserved specimen, apparently the only unrestored one of its kind, which came to light in the 122 JAPANESE ARMS AND ARMOR province of Tamba some years ago. Its main struc- tural difference from the earlier harness is in its smaller scales, or laminae, in their greater compact- ness, and in the fact that they are alternately leather and iron, instead of being made of rawhide only. Other classes of armor at this period do not differ widely from the o-yoroi. It is even probable that as such they existed in Fujiwara times, judging from the drawings in a famous manuscript (now in the pos- session of Prince Sakai, the Ban-dai-nagonsoshi) which probably dates from looo A.D. These har- nesses, worn by people of lower rank, had a greater number of apron-like thigh plates than four, i. e., six, eight, even a dozen; some of the corselets opened at the side {do-maru), others down the back (hara- maki), both types apparently of the same early date. Those in the present collection (Cases O. 4, 6, 10, 39) are mainly from the collection of the late Professor Chitora Kawasaki of the Art School in Tokyo. Hel- mets in the Kamakura period are generally similar to those of the two earlier centuries: their iron top, or bowl, was made up of radial plates, sometimes studded with large rivet-heads; the neck guard was wide and its sides were rolled over as huge ear-pieces, though not to such a degree as in earlier examples. The leaf-shaped ornaments on the brow plate some- times develop extraordinary length during this period. The arm defenses are sleeves of cloth rein- forced with several large, flat plates, held together with mail. On the legs the loose trouser-like cover- ings are reinforced with rows of scales, and the shin PLATE LVI JAPANESE ARMOR, X OR XI CENTURY FROM TEMPLE SUGATA-NO-MI YA SEE PAGE 121 JAPANESE ARMOR I23 region is protected with wide greaves which in horse- man's armor develop great defenses which project upward and backward, so as to protect the knees. Toward the end of this period the rows of scales com- posing the armor were in some cases replaced with solid bands of iron, giving the type of harness shown in Case O. 1 3. This shows also the early mask which was developed as a defense for the face, resembling the early European beaver (p. 49), rather than the visor, which, we recall, articulated with the helmet. In the next period, that of the Ashikaga shoguns, between 1336 and 1600, armor developed a great variety of forms. Some of them are seen in the pres- ent gallery (Cases O. 15 and 16). In a general way, the highest types of armor were conservative, the commonest were progressive. Thus an o-yoroi during Ashikaga times (Plate LVIII) might be confused with a Kamakura harness: so also the do-maru and hara- maki were worn. But now appeared, especially in the later years, corselets made of larger plates. Helmet bowls were built up of a greater number of radial pieces, or were formed in many irregular shapes, like fruit, shells, or head-dresses (Cases O. 44 and 45). The neck defenses were smaller and the ear ''tabs" greatly reduced. Masks also appeared in various forms suggesting the faces of monkeys, goblins, swal- lows, also human faces, young and old, women's as well as men's (Case O. 1 1). At this period, too, chain- mail was more frequently used in the defenses of legs and arms. Finally, in the greater use of metal in the exposed parts of the armor there arose a new type of 124 JAPANESE ARMS AND ARMOR decorative treatment : inlays and overlays of precious metals appear, and the beginnings of embossed armor. From this time dates some of the extant work of the Miochin family of artist-armorers, whose generations extend back, in more or less historical continuity, to the thirteenth century. During the Tokugawa period (1600- 1868) Japanese armor became decadent and finally went out of use. This was a time of peace, but it was an armed peace which the shoguns safeguarded by the most carefully planned feudal measures which the world has seen. They made it a rule, for one thing, as a means of keeping the ''units" of the empire in close touch with the government, that each governor or daimyo should leave his province at stated periods and make his headquarters at the capital, Tokyo, or Yedo, as it was then called. This rule was strictly enforced for over two centuries and one can easily understand what an influence it exerted in the devel- opment of arms and armor, since it focused upon them the attention of everybody; for, summer or win- ter, early and late, all roads in Japan, leading to or from Yedo, were apt to be thronged with processions in which one saw armored men of every degree, cere- monial guards, brightly caparisoned stallions (Case O. 38), long spears with ornamental heads, shafts, and sheaths (wall trophies), waving banners of many colors, bearing crests and devices (racks on east wall), and long files of retainers, whose harnesses were cov- ered with bright surcoats {jim-hauri, framed on south wall) and who wore as helmets flattish head-pieces PLATE LVII JAPANESE ARMOR, ABOUT 1200 DEAN COLLECTION SEE PAGE 121 JAPANESE ARMOR I25 (jingasa, on west wall). The times, in a word, fa- vored display, and armor became developed in a thou- sand different ways. Variations appeared even in details: each province produced its fashion in colors, forms, tissues, kinds of metalwork and lacquer. And, complicating the situation even more, the styles changed constantly. The armorer, accordingly, took upon him more and more the functions of a court costumer. And as his work was rarely expected to stand the test of actual battle, he naturally econo- mized in the quality of his metalwork, which was his costliest item, and was lavish in lacquer, bright braids, and helmet ornaments (Cases O. 26-28, 32- 35). Where he attempted work of costliest type, as in embossing, his results were decadent (see harness by Miochin Munechika, Case O. 17). His wealthy patrons favored intricate designs, overlays of precious metals, sometimes in a fanciful taste, which suggests a parallel with the rococo of the Europe of those days. Sometimes, too, a Japanese daimyo, like the seigneur of the court of Louis XIV, would wear a "fortune on his back," and such princely suits of armor have even today maintained in Tokyo or Kyoto a price so high that few of them have ever found their way out of Japan (Cases O. 22, 9, sleeves). In general, however, armor under the Tokugawa shoguns was light, cheaply made, and showy. And at this time, especially from 1750 to 1850, great num- bers of suits were made and are still preserved. In fact, nearly all the Japanese armor exhibited in shops and museums dates from this time — in as 126 JAPANESE ARMS AND ARMOR large a proportion, perhaps, as nine examples out of ten. Some of the features which appear in armor of this period are helmets with small ear pieces, with close- fitting neck defense, and with bowl made up of many radial splints — there are over a hundred in a speci- men in Case O. 39; shoulder defenses and apron-like thigh guards, small, often strengthened with single plates; armor for legs and arms, light and flexible, largely made up of chain-mail. But in these matters one can set down no general rules, for the suits of high grade are conservative, and corselets and head- pieces still appear which resemble the armor of Kama- kura times (Case O. 27). Only by decadent workman- ship and by study of details does one see that they are of quite modern make. Some of these features are shown even in early Tokugawa times, as in the har- ness of Date Masamune^ (died 1636) of Sendai (Plate LIX), which appears as his eifigy in the memorial temple at Matsushima. In this example it is inter- esting to note that the heavy plastron suggests a European model. It was, as a matter of fact, during Prince Date's time that European influence was making itself strongly felt. Portuguese traders were visiting cer- tain ports, missionaries had made vast numbers of converts, and the Dutch were opening a ''factory'' near Nagasaki. So it is not surprising that European 1 This prince was a formidable rival of the Tokugawa, and perhaps the most brilliantly cultured Japanese of his day; he was litterateur, engineer, artist, general, diplomat. In the last regard he is remembered as having sent a mission to Spain and Rome. PLATE LVIII JAPANESE ARMOR, ASHIKAGA PERIOD XVI CENTURY FROM KOSUGA TEMPLE, NARA SEE PAGE 123 JAPANESE SWORDS I27 arms and armor were imported, and that bits of Dutch red felt and stamped leather begin to appear in Japanese equipments. The Japanese were, au fond, just as enterprising then as today: in this particular matter we know that they appreciated the technical excellence of European armor and were quite capable of changing their entire system of war- fare had the shoguns permitted it. They knew, for example, that the ''foreign iron" (nam-han tetsu) was better than the Japanese (for they liked to test it with musket-ball), just as they knew that foreign sword-blades were inferior to their own. And they adopted as much of the western fashion as suited their needs. They bought eagerly European cabas- sets and morions and adapted them to their styles (Cases O. 44, 45), transferring the plume-holder from the back of the cabasset to the front. They evidently appreciated the virtues of the European peascod corselet, which they called ''pigeon-breasted" {hato- mune), for they used and copied it frequently (middle panoply, west wall). From this period date many Japanese books and manuscripts on armor, and the reader who is in- terested may fmd in them how armor was worn, and what was the meaning of the various "crests," shaped as suns and moons, shells, plants, horns and monstrous animals. B. JAPANESE SWORDS It is difficult for a foreigner to understand how an old-time Japanese venerated his sword. His feeling 128 JAPANESE ARMS AND ARMOR toward it was a part of his cult, sentimental, religious, ethical, somewhat like that of a knight of the early Middle Ages, who named his sword, personified it, and expected it in some mysterious way to give him *'signs," or to leap out of the sheath and bury itself in his enemy. Even today a Japanese gentleman of the old school is not apt to talk of his swords, much less to show them: if he can be persuaded to bring them out, it is a sign that the visitor is accepted as an intimate friend. A sword is carried into the room in silken wrappings, sometimes in its ancient lac- quered box, and is unwrapped with no little care. It is usually protected with a simple wooden sheath and with a plain wooden handle. Its owner will pass it with due ceremony to the visitor, who receives it in both hands, which are held palrtl upward. He must handle it reverently, ask permission to see the blade, and when this is given, slowly draw it from its sheath, examining the steel inch by inch as it appears, but he must always take pains to hold the razor-like edge toward himself. When the blade is nearly exposed, he must again obtain permission if he would see the point — for etiquette does not pre- scribe drawing a sword in the house of a friend. Of course the blade is not touched with the visitor's bare hand: he produces at the right moment his mulberry-fiber handkerchief, in which the blade may be handled. The blade of the sword is the prized possession. It was the ''soul" of the ancient samurai, as the shogun leyasu said; it typified his honor; and one PLATE LIX ARMOR OF THE EARLY TOKUGAWA PERIOD, ABOUT 163O FROM EFFIGY OF DATE MASAMUNE (SENDAl) SEE PAGE 126 JAPANESE SWORDS I29 may learn with what ceremonies it was made, tested, acquired, used, inherited. Its makers were among the greatest artists of Japan, and authentic blades of well-known masters were ever and are sold for prices which, even today, the wealthiest foreigner usually declines to pay. To know the names of the cele- brated sword-artists and their work was a part of the regular training of the samurai. And the study is so difficult that few, indeed, there are today who have mastered it. Thus a great expert in Tokyo, high in the sword society (To- Ken Kwai) there, de- clares that no one should buy a blade who has not studied the best examples throughout Japan for at least ten years ! 1 1 appears that the works of famous makers were copied and signed fraudulently even in ancient times — almost in the years when the masters themselves were living. Among the famous sword- artists one recalls the names of Norimune (twelfth century), Masamune and Yoshimitsu (thirteenth cen- tury), and Muramasa (fourteenth century), whose blades thirsted for blood, and should not, as a means of preventing accident, be entirely drawn from the scabbard! In Case O. 40 are examples of these artists' works which are believed to be authentic: they have been obtained from the collection of Professor Frederick M. Pedersen. Especially beau- tiful is the texture of the blade, which is character- istic for each master, sometimes recognized by lines of color in the metal, or by the peculiar wavy line (yakiba) formed in tempering, where the steel mar- gin of the blade joins the iron back, or core. Some- 130 JAPANESE ARMS AND ARMOR times there is a wavy texture in the layers of steel of different colors throughout the blade, in the style widely known to Europeans from its development in Damascus. (See p. 140.) Kinds of Swords There are three well-defmed kinds of Japanese swords: the long sword {katana), the short sword {wakiiashi) , and the dagger-sword (tanto) — types shown with numerous examples in Case O. 42. Each is single-edged, slightly curved, or sabre-like, and all are similar in manner of mounting. The long and short swords together form the familiar pair of swords (daisho), carried (until 1877) by all Japanese of the military caste. The longer was the fighting sword, the shorter was used as a supplemental arm, or in the supreme distress of its owner, for ceremonial sui- cide (hara-kiri), although in the latter rite the dagger- sword (tanto) was given the preference, at least dur- ing the last centuries. The mountings of the swords when carried as a pair were often alike, and everyone who collects sword furniture recalls the sets of " twin'* sword-guards and similar objects, which have been offered him for purchase. The dagger-sword is usu- ally without a guard and is so small that it can be carried concealed. Additional types of swords are known, but they are relatively rare. Thus, the long sword of a daimyo usually has a slender blade and is mounted in the ancient hanging style (tachi). Two- edged swords are also known, some quite primitive in form but often of late date (Case O. 40). So, too, JAPANESE SWORDS I3I eccentric types are described which were carried singly by Japanese of the artistic or professional classes: a physician, for example, carried a short sword which either lacked a metal blade or had one of a type which could not well be used. Sword Furniture Every samurai household is still apt to have tucked away in the storeroom a box made up like a nest of shallow trays, containing sword "furniture," or the various trappings with which the family sword- blades were mounted. Such a box contains disk- shaped sword-guards (tsuba) and other metal mount- ings of the hilt, such as the ferrule-like pommels (kashira), ring-bands (fuchi), and ornate peg-heads (menuki) which attach the blade to the handle. Here also are small "paper knives'' (koiuka) having flat, decorated handles, and skewers (kogai), the latter serving as hair pins. Both were tucked into the sides of the sword-sheath. The kozuka could be thrown with great precision and it is said to have been a formidable weapon, readily striking a mark, e. g., the eye-hole of an armor-mask, at a range of ten feet. The kogai, or skewer, it may be remarked, had a curious function: it was left with a slain enemy as a mark of identification, and later thrust into the ear-hole of the severed head, to serve as a handle in carrying the trophy. Occasionally the kogai is formed of halves and could be used as chop-sticks (hashi), not however for knife and fork, but as cere- monial tweezers, to handle ashes or incense. 1 32 JAPANESE ARMS AND ARMOR Sword mountings played an important part in the training of the Japanese of the highest classes. They formed a part of his daily life, they were frequently changed, and wealthy men are said to have had sufficient "stock'' in reserve to allow favorite swords to appear in different dress each day in the year. It is not surprising, therefore, that the best artists were employed to design and execute them and that their decorative treatment should be developed differently at different times and in various parts of Japan. There grew up a vast lore as to sword furniture, and families of tsuba artists rose and flourished. Every young samurai knew the names of some of these artists and the character of their work. He knew that Noboui'ye and the Kaneiye made the most beautiful iron guards; that the Goto were famous for their tsuba showing golden lions or dragons; that the Kinai pierced their guards sharply with crests, flowers, leaves, and fruit. And the fame of these artists remained not alone at home: when Japan was opened to foreign commerce, Europeans and Americans collected their works eagerly. In New York, for example, there are now several repre- sentative collections, one of which, that of Mrs. Adrian H. Joline, has recently been presented to the Metropolitan Museum (Case O. 43). C. POLE-ARMS The Japanese were artists in the use of the spear. One can form an idea of the popularity of this arm when he notes how many spear-racks are still present POLE-ARMS 1 33 in Japanese houses and discovers how many manuals for the use of fencing with the spear can still be picked up in local bookstalls. The Japanese did not, however, develop the great variety in pole-arms which is known in Europe. The typical form was a spear having a stout, long head, quadrangular in section, ending somewhat bluntly. A second type was vaguely halberd-like, having a somewhat cross- shaped head. A third had a sword-shaped blade, or naginata (in the use of which women were sometimes trained). And a fourth was a ponderous wide-bladed affair which suggests less a pole-arm than the double- handed sword of Europe. Slight variants occur in these types, but in a general way they include prac- tically all pole-arms in use in Japan for over eight centuries (see rack on west wall). In this list, how- ever, one does not consider the "halberds,'' Chinese in type, having hooks, neck-rings, and the like; for these may be looked upon as exotic. These forms were sometimes seen in racks in the gate house of a daimyo's palace. Japanese long-spears were beautiful weapons both in design and workmanship. The heads were fash- ioned with the same precision as sword-blades and were as carefully signed by their makers, respecting whom there is a considerable literature. The shafts are models of strength and lightness. Made of hard wood of many kinds, they have excellent grips, and are finished with lashings in the Malayan style and with ferrules sometimes richly ornamented. It can safely be said that nowhere in Europe was known 1 34 JAPANESE ARMS AND ARMOR this degree of refinement in the mounting of pole- arms. D. BOWS AND ARROWS The bow is an arm which for centuries appealed strongly to the Japanese temper. It required dex- terous arm muscles, keen sight, and quick judgment, well suited to an art-loving race. It was found in the hands of all Japanese, prince and peasant, old and young. In course of time it became modified in form and use in many directions; all manner of bows were known, some small and delicate for short range, fashioned as instruments of precision, some large and heavy, suited for throwing heavy arrows great distances (see rack on north wall). They were made of a great variety of elastic materials, and were " lashed in many ways and elaborately. Their shape when strung showed wide differences; some bows were boldly crescentic, others irregular; a common form was much longer and more widely curved above the "arrow line,'' so that the archer, holding the shorter end of the bow downward, could have the advantage of a bow of the greatest length recorded. In a word, the Japanese as bowmen were certainly unrivaled in recent centuries, and were probably more skilful, so far as can be judged from early records, than the Turkish archers of the fifteenth century or the English of the fourteenth. It is interesting, on the other hand, that they never developed the use of the crossbow. This arm occasionally occurs, it is true, but a really serviceable example is unknown from Japan. In the present collection a single cross- GUNS, PISTOLS, AND CANNON I35 bow is represented, but it is rather Chinese in form than Japanese. 1 1 is a "magazine " or repeating type, provided with a lever which drew the bow and pushed the bolts into place in rapid succession (Case O. 12). With the development of the bow the arrow under- went a series of extraordinary changes. In fact, in no other country are there so many varieties of arrows. Even from prehistoric times they were fashioned for the most varied purposes, ranges, and wind-conditions. As objects of art, moreover, they were given great attention. The heads, especially, show beautiful forms, elaborate designs, and exquisite workmanship: some are pierced boldly, others are a lacework of steel, others again are marvels of chisel work, carved with flowers, dragons, or gods. In the field of arrow-points (yano-ne) there exists an exten- sive Japanese literature (Case O. 41). It is not unnatural that there should have ap- peared at the same time a series of archer's acces- sories. Quivers were made in many forms (panoply on north wall), some box-like, others like racks, others still like baskets beautifully woven. So, too, there were exquisite reels, formed of twisted or plaited bamboo, in which the archer coiled his additional bowstrings. Then there were archer's gloves in pro- fusion, some of them excellent examples of work in stamped leather (Case O. 12). E. GUNS, PISTOLS, AND CANNON The use of gunpowder was never developed broadly in Japan, for one reason, doubtless, since fire-arms 1 36 JAPANESE ARMS AND ARMOR were not given a high place in feudal warfare. Guns were in common use, it is true, during the century preceding the formal opening of the country to for- eign commerce, but these arms followed the style of the matchlock which was introduced in Japan by the Portuguese navigators of the sixteenth century. In the various guns (Case O. 12) which are known from Japan, details may differ, as in proportion, ornaments, weight of barrel, but the general plan is ever the same. After the expedition of Commodore Perry (1853), however, new types appeared, such as revolvers, including both guns and pistols, some keeping the matchlocks, others introducing percussion caps. In many instances, they became eccentric in fashions. Thus barrels were formed of coils of wire. Cannon in Japan were heavy in outline, copied evi- dently from the forms introduced by Europeans dur- ing the seventeenth and eighteenth centuries. F. HORSE ARMOR Japanese warfare must have proved fatal to horses, for their cavalry was in constant use, arrows were shot in clouds, and the horses were unarmored. Not until the Tokugawa period when warfare practically ceased was the horse given adequate armor. In earlier times horse frontals appeared and heavy trap- pings of silk, although the latter could hardly have been of great value as a defense. In Tokugawa times, however, when parades were constant, horse trappings formed a splendid medium for display. Housings were common, to be compared in a general HORSEARMOR 1 37 way with the neck-, chest-, and rump-defenses of the European horse. They were made up of squares or scales formed of hardened leather or of steel, and were often brightly colored, gilded, silvered, or lac- quered in red and black (Cases O. 36 and 37, and panoplies on north wall). Horse frontals, too, were in constant use, these sometimes shaped as the faces of monsters, splendid with feelers and crests. Japa- nese saddles (Cases O'. 36, 37, 41) are well known in art museums everywhere. They are usually decorated lavishly. In general, they are of Chinese form, but they are sometimes small and lightly modeled, suggesting the compact wooden army saddle of our western troopers. Japanese stirrups, like the saddles, are often richly ornamented. From early times they developed their typical crescentic form, without sides, which was found eminently practical. They were heavy, were not 'Most'' as readily as the western stirrup, and could not catch the foot of the rider and drag him along, as sometimes happens with the European stirrup. In the present collection (Case O. 41) the earliest saddle dates from late Kamakura or early Ashikaga times, resembling closely a speci- men preserved in the museum in Kyoto. An idea of the ceremonial trappings of the Japanese horse may be had by examining the model of a horse bearing its equipment, prepared about 1 780 by order of a daimyo of Inaba. XI ARMS AND ARMOR OF THE EAST Arab (Saracenic), Turkish, Persian, '7/ y en a, il y ena eu, il y en aura toujour s.'* Carrand pere always will be,'' he showed an old-fashioned collec- tor's disdain for whatever was Asiatic. He knew that armor was still being made in that no man's land where the West disappears in the East, where artists are working in the same places, and with the same patient methods which they used when the Crusades were young. Carrand, together with his collector-friends, could not appreciate these Oriental objects and did not wish to study them; still he realized in a way their position with respect to Euro- pean arms — the latter were progressive, the former conservative. If one wished to understand details, Carrand admitted, let him go to the East ("cherche^ toujour s V Orient''). Thus, if one sees tomb-figures in Europe showing curious mail, like the banded Indian, Chinese HEN, sixty years ago, Mr. Riggs's pre- ceptor declared, "There are Oriental arms, there ever have been, and there PLATE LXI HISPANO-ARAB SWORD, END OF XV CENTURY TURKISH CASQUES, XV AND XVI CENTURIES DE DINO COLLECTION SEE PAGES 12, I42, 1 44 ARMS AND ARMOR OF THE EAST 1 39 mail of fourteenth-century crusaders, he can under- stand how it was made and worn by examining the mail of Turkey, Persia, or India. In fact, practices in armor-making extinct in Europe can be explained today only by visits to the few surviving armor- makers in these countries. In Carrand's day Oriental armor and arms were to be found everywhere; the shops of Paris and London were stocked with admirable specimens dating from many periods. A vessel ballasted from the ancient storehouse in Constantinople had brought to Europe hundreds of head-pieces of janissaries and piles of their "saucepan-lid'' breastplates, and had made them a drug in the market. Even today one is apt to fmd in out-of-the-way shops specimens hav- ing this provenance — and one still sees beautifully wrought plastrons, fluted in Maximilian style, dat- ing from the time of Mahomet the Conqueror and deeply stamped with the mark of the St. Irene armory, which can be bought for a few shillings. In a general way, however, the world has changed since Carrand's time. Collectors there are now who are specialists in the armor of the Near East, who know its varieties and periods and love the art of its ancient makers. This quickening of interest has been due to many things, but mainly to the spread of the knowl- edge of Mohammedan art fostered by special exposi- tions, e. g., in Cairo, Madrid, Munich, Berlin, and South Kensington. Thus it is widely known that Mohammedan metalwork reached a high point of development during the thirteenth and fourteenth 140 ARMS AND ARMOR OF THE EAST centuries. The quality of its metal was then excel- lent and much of it was of a peculiar fibrous or closely layered texture which is best known in Damascus steel. In a sense, however, the term ''Damascus steel" is a misnomer: it commonly refers to any kind of Oriental laminated or ''watered" steel, i. e., pro- duced throughout all Arab countries as well as in Turkey, Persia, India, Japan, and Malay countries. Even in Europe it was made for the "twist" gun barrels of England, France, and Germany. This metal with its beautifully wavy texture appears to have been formed in a variety of ways (see von Lenz, Zeitschrift fiir Historische WafTenkunde, IV, 1906, pp. 132-142, and Belajen, St. Petersburg, 1906). Some of it was made up of iron and steel, of different colors and degrees of hardness, which were "spun" or welded together and then drawn out, bent, and rewelded by processes which naturally varied ex- tremely in the hands of workmen of different talents in many countries. Much of it, on the other hand, and of cheaper grade, was produced "artificially," by processes of crucible work, heating and cooling, during which such components in the fused mass as slag and graphite rearranged themselves in the metal. Made in either way, the result was similar, but the variations were marked enough to become associated with special localities and special artists or families of artists. The average European cannot justly estimate the value placed by Orientals upon splendid examples of this metal. Only in an occa- PLATE LXII GAUNTLET SWORD-HILT, SOUTH INDIAN XVII CENTURY GEORGE C. STONE COLLECTION SEE PAGE 144 ARMS AND ARMOR OF THE EAST I4I sional reference does one get an idea of this, even in popular literature, as when Marion Crawford pic- tures in one of his stories a Greek banker of fabulous wealth whose two most-prized artistic treasures were a Greek statue and a Damascus blade. Certain it is that in the markets of the East a western col- lector, who for the rest has a well-matured idea of high prices, is sometimes shocked at the "mad" sum which a rich Oriental will pay for a blade of highest class. Several varieties of Damascus swords are shown in room H. 5, Cases O. 51 and 52, some of which. North Indian and Persian, are exceedingly good examples of their type. (Lent by George C. Stone.) We should not, however, look upon all Damascus blades as precious. There are blades and blades in these as in other swords — every market- place in the East has examples of them, some of which, as in Ahmedabad or Jaipur, can be pur- chased for a few rupees. This type of steel, we may add, is still being produced in out-of-the-way locali- ties. It is generally known that many of the best blades are richly decorated with precious metals (Case O. 51) in damaskeening; that is, by a proc- ess which attaches gold, for example, to the steel within sharp grooves or scratches, whose ''burr"- edges are hammered down and clamp the overlaid metal into place. In later arms the damaskeening is apt to be superficial, and is cleaned away in the course of time. In this poor quality of workmanship the scratches which attach the gold are many and thready. Arms of this inferior grade are still being 142 ARMS AND ARMOR OF THE EAST made and fill the bazaars of northern Africa, Persia, and the Russian Orient. They are made less for parade than for foreign consumption. It is safe to say that the older a Mohammedan arm or fragment of armor, the more substantial its make and the more beautiful its ornaments. To realize this, one need only contrast with a modern helmet (Case O. 60) the remarkable series of Turkish- Saracenic casques shown in Cases O. 55, 56. These date mainly from 1400 to 1350 and are therefore from a good period, which saw the storming of Con- stantinople and the brilliant rise of the Ottoman power. The casques are large in size, intended to cover a heavy turban; they are richly decorated, embossed, engraved, damaskeened, showing either geometrical ornaments or inscriptions from the Koran. (Plate LX I.) As noted above, armor from this region of the Orient has changed surprisingly little. In its essen- tials it retains the fashion of earlier centuries. Only in details has it undergone changes. The early chain- mail (Case O. 57) is large-linked, sometimes showing on each link a stamped ornament, which takes the form of lines, grooves, dots, even of scriptural texts. Each link of early mail is riveted, sometimes with two or more pegs which pierce the metal com- pletely. In more modern mail the brass links be- come smaller, lack rivets, and are frequently of various colored metals, showy, but of little prac- tical strength. Such mail is produced today in out-of- the-way places and is possibly worn for service. As ARMS AND ARMOR OF THE EAST I43 recently at least as 1907 several soldiers appeared near Batum (Trans-Caucasia) clad in chain-mail. The Orient, then, has retained a fashion in armor which was best developed in Europe during the twelfth and thirteenth centuries. And it has gone no further in fundamental changes than the stage noted in the armor of Europe at about the year 1400 when plates of metal were used to reinforce chain- mail. Armor of this kind appeared everywhere among Eastern, especially Mohammedan, nations. Sometimes the plates appeared as splints correspond- ing to rows of links of chain (Case O. 54), and thus formed jazerans (see p. 25). In other instances a few large plates were set in or over the chain-mail, as in janissaries' corselets, or in the armor of "four mir- rors" (chaka aina), which is typical of India and Persia from early historical time, if we read Xeno- phon correctly. These "mirrors'' are best known in northern India where they are sometimes made of Damascus steel and are richly damaskeened with gold (Case O. 60; see also Moore Collection, Addi- tion H, 10). With these, small casques were worn, with narrow camail (see p. 38): also arm defenses, brassards (Cases O. 47 and 60), which were decorated in the style of the corselet. The shield which com- pleted the panoply was usually a round arm-shield, sometimes of considerable size. At other times it was reduced to a small fist-shield like the ones which appeared in Europe from the fourteenth to the six- teenth centuries. These shields are sometimes deco- rated richly (Cases O. 48, 60) : they are apt to bear 144 ARMS AND ARMOR OF THE EAST four bosses which serve to attach the carrying-straps. So similar are these pieces of armor from various points of the Orient that one who is not an expert would probably not be able to distinguish armor from Turkey, Persia, Algeria, North India, or Circassia. And as we have noted, the types remain fairly con- stant for many centuries. The arms, too, show marked similarity. The sabre, for example, changes but little in shape, hilt, or ornamentation. The straight sword, whether Hispano-Arab (Case O. 50 and Plate LXl) or North Indian (Case O. 51), has kept the same "lines" for centuries. The gauntlet sword (in Case O. 46), though commonly Indian, extended its use over a wide area, and the short dag- ger with its curved end and heavy handle is also dis- tributed broadly. In the adornment of these arms, later ones notably, the Oriental taste is apt to express itself in handles of precious jade inset with pearls, rubies, sapphires, emeralds, even diamonds (see Case O. 60, also in Bishop Collection of jade). In India, especially South India, cut steel makes its appear- ance frequently as a means of decoration, where handles of fist-daggers (katah) are richly perforated and sculptured. Of these no better examples are known than the seventeenth-century specimens (in Case O. 46) from the armory of the Rajah of Tanjore. (Borrowed from the George C. Stone Col- lection.) The workmanship here curiously parallels, or possibly copies, the cut steel well known at that time in western Europe (compare north gallery, H 8, Case 82). (Plates LXII to LXIV.) ▼ PLATE LXIV SOUTH INDIAN DAGGERS, XVII CENTURY GEORGE C. STONE COLLECTION SEE PAGE 144 ARMS AND ARMOR OF THE EAST I45 Pole-arms in this region of Asia rarely show a wide variety of forms. Halberds as ceremonial arms are practically absent. Spears were used largely by horsemen and, for practical reasons, could not have developed heavy heads. The majority of Oriental pole-arms are made to be thrown: they are, there- fore, beautifully balanced, light, and carefully shafted. Among short-shafted weapons were numerous forms of maces, war-hatchets, and the like (in Case O. 49)- Bows are a favorite arm in the East, and archers, especially Turkish, were ever renowned for their strength and skill. The longbow early disappeared from use, supplanted by the Turkish-Indian form, which was short, made up of layers of sinew, wood, and horn. A bow of this type (Case O. 49) was a stronger arm than the longbow of Europe. Thus, a Turkish bow is known to have had an effective range of four hundred meters, as opposed to two hundred for the longbow. Crossbows were rarely used. Oriental banners (see gallery walls) are seldom rec- tangular in outline. They are not apt to bear crests or similar heraldic devices. In their place appear inscriptions from the Koran and the names of the prophets. The arms and armor of the Far East, other than Japanese, can hardly be reviewed in the present cata- logue. They represent a section apart and are represented meagerly in the Museum collection. 146 ARMS AND ARMOR OF THE EAST Malayan arms appear only in the krisses (Stone Collection), which, by the way, are among the most beautiful of their kind extant (Case O. 53). Chinese armor (Case O. 50) is shown only in fragments, which suggest relationships, on the one hand, with the Korean-Japanese, on the other, with the Tartar and other Central Asiatic defenses. In a general way, China is singularly deficient in armor or arms. For many centuries it has been a nation in which a military caste had no place. Armor, therefore, degenerated into a fanciful costume made up largely of embroidery, tinsel, and brass. Indeed, should one examine the many antiquity shops of Shanghai or Canton, one would hardly discover a single example of a Chinese helmet or sword. LIST OF PERSONAGES AND FAMILIES (EUROPEAN) WHOSE ARMS, PERSONAL OR STATE, ARE REPRESENTED IN THE COLLECTION BY BASHFORD DEAN AND ROBERT T. NICHOL In the following list the objects either bear intrinsic evidence of their early ownership or are known to have had a provenance which makes their attribution reasonably clear. In cases less convincing, a question mark is added. The dates here given are usually approximate. For convenient reference, the objects themselves are distinguished by a purple mark. NAME Aben-Achmet (Granada)? Abencerage (see Ab- en-Achmet) Albani (Roman) . . . Albani (see Clement XI) Alexander VII Alexander VIII .. .. Alva, Duke of?. . . . Ambrosini (Bol- ogna) Asiniere, Count . . . Augustus the Strong OBJECT Sword and Koran case Rapier CurtainXdossal),dated Banner Brigandine Embossed half-armor. Two-handed sword . . . Powder horn Hunting horn Powder horn DATE NUMBER ROOM CASE 1490 04.3.458-9 H5 1580 04.3.23 H 8 1659 II. 159 F7 1690 14.49 H9 1530 1532 H9 1570 7H H 8 1 500 935 H9 1568 1 491 H 8 1690 1620 H9 1690 1472 H9 147 148 LIST OF PERSONAG ES AND FAMILIES Augustus III . , Baden-Baden , Bamberg, Prince Bishop (see Hatz- feldt) Bassenheim, Count von Bassompierre, Mar- quis de Batory, Stephen (Poland) Benaglia (of Ber- g a m o , Treviso, and Verona) .... Bertrand de Goth . . Besserer v. Thal- finger Biron, Seigneur de, Pons de Gontaut. Boabdil (see Aben- Achmet) Bock (Branden- burg) "NJ f TM R n P IN UlVl D t K. ROOM CASE Hiintinor Unifp I yoo 759-54 H 0 127 Rp0jmpn1"al minpr's 1 700 I ^00 H 9 127 r^arrniispl Ipnrp"; 1 700 1 67, 1 69 H 8 Regimental miner's 1 700 1309 H 9 127 1 700 219 H 5 0.56 Regimental miner's axe 1706 1367 H 9 127 Regimental miner's axe dated 1717 1370 rt 9 127 box of quarrels, pre- nest August I of \X/pim ^ V 1 720 1576 IT _ H 7 100 Short sword of Polish guard 1720 1 02 1 H9 122 Partisan of state puard 1 720 345 H 9 near 05 Short sword of Polish guard 1750 1019 H9 122 Halberd dated 1580 12. 141. 8 H9 near 123 Chamfron . , I ? CO 1 641 H Q near 50 Armor I 620 697 H n n 9 110 Sword of guard 1580 14.99.17 H9 125 Partisan 1550 366 H9 near 65 Spurs 1324 Li 868. 1 -2 H9 16 1730 1817 H9 59 late Stone monument. . . . XV 16.31. 1 F5 Badge 1450 774 H9 17 LIST OF PERSONAGES AND FAMILIES I49 NAME Borghese, Camillo (Pope Paul V) . Bourbon, Charles de? Bourbon, Francis de Brescia, Duke of. Can Grande (see Scala) Capece-G a 1 e o t a (Naples) Capel, Sir Giles. . Carlos, Don Carocci (Naples?) Carrara Castelli (Sicily and Naples) Castile and Leon . . . Cavalli (Venice and Verona) Cavalli (Venice and Verona) Charles I (Eng- land)? OBJECT DATE NUMBER Charles HI (Spain) IV " V (Austria) Charles VI (Ba- varia) CharlesVI (Austria) Fauchard . . Half-armor. Fauchards . Guisarme. . Bow and quiver. Heaume Helmet Feather staff. . . . Shield Badge . Badge . Fauchard Wheellock pistol dated Regimental sword dated Sabre Fowling piece, .dated Small cannon, .dated Defense of upper leg . . Two-handed sword of guard Hunting knife Sword Gauntlets Wheellock pistol Toe cap, and pair of ear defenses of horse Halberd . . Spontoon , Banner Spontoon-partisan , 1605 450 H 8 77 1 520 716 H9 40A 1575 04.3.86-96 H9 near 10-3 1480 I H9 near 23 1 500 1585 H7 106 I 5 10 04.3.274 H 9 1540 621 H 8 108 1510 .04.3.464 H 9 23 1650 04.3.107 H9 near 1 14 1400 04.3.405 H 9 8 1400 04.3.384 H9 8 1550 392 H9 near 37 1550 374 H8 near 37 1639 10.42 H 8 86 1773 1025 H9 125 1780 14.99.10 H9 122 1796 16.135 H9 121 1523 1814 H9 46 878 H 8 04.3.290 H 8 1 07 1540 04.3.152 H9 127 1545 1204 H 8 91 1545 900 H 8 102 1550 1425 H 8 86 1545 20.1 51.7-9 H 8 103A 1600 349 H9 near 59 1725 401 H9 near 1 17 1725 405 H9 near 1 1 7 1730 96.5.2 H 9 near 1 16 1730 1817 H9 59 1740 403 H9 near 114 150 L I S T O NAME Charles XI (Swe- den) Charles Emmanuel I Charles Emmanuel I? Charles Emmanuel I? CharIes]Emmanuel I Charles Emmanuel II Charles Emmanuel II Charles Emmanuel II Charles Emmanuel III Chesney du (Brit- tany) Chesterfield, Earl of (see Scudamore, Sir James) Chigi, Fabio (see Alexander VII) Christian I (Saxony) Christian II (Sax- ony) Christian II (Sax- ony) Christian II (Sax- ony) Christian II (Sax- ony) F PERSONAG OBJECT Dagger dated Vambrace and gauntlets Wheellock pistols. . .. Lance Partisan ■ Halberd Fowling crossbow . . . . Lance Banner Archer's bracer Morion Pole-axe Cartridge belt Morion Gauntlet of state guard Casque of state guard Cartridge belt State halberd . .dated ES AND FAMILIES DATE NUMBER ROOM CASE 167I 1580 1590 1600 1620 1650 1650 1650 1750 1600 1575 1575 1580 1580 1580 1580 1580 1585 1585 1595 1595 1600 1601 1295 96.5.85-87 1398 325 372 17 1583 341 1822 161 5 650 651 04.3.68 i486 639 633 04.3.225 649 652 907 04.3.224 L1759.45 280 H9 H 8 H9 H 9 H 8 H 8 H 8 H9 H 8 H 8 H 8 H 8 H 8 H9 H 8 H 8 H 8 H 8 H 8 H 8 H8 H9 H9 126 74 64 near 1 17 near 70 near 80 106 near 1 1 7 near 70 106 1 1 1 1 1 1 69 62 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 62 near 63 LIST OF PERSONAGES OBJECT State halberd Gauntlets Falconer's gauntlet . , NAME Christian I i (Sax- ony) Christian 1 1 (Sax- ony) Christian 1 1 (Sax ony) Christian VI (Den mark) Clement XI Collalto , Colonna, Marco An- tonio Contarino, either doge Francesco or Nicolo Cordoba, Gonzalo Fernandez de . . . . C o s s a , Baltasare (see John XXIII, Pope) Devereux, Walter (see Essex, Earl of) Diane de Poitiers . . Diuvenvoorde (Hol- land) Donate, doge Leo- nardo Dorrer (Nurem- berg) Douglas (Scotland). Dreux, de (see Lor- raine) Ehrenreiter (East Friesland) Essex, Earl of Fanning, Captain . . Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Harness State partisan Horse armor . Armor for man and horse State fauchard Armor Stirrup Partisan State fauchards . . Partisan , Badge. . Crossbow and wind- lass dated Portrait dated Revolutionary gorget Hunting spear. Coustille Wheellock rifle. AND F A M [LIE s 151 DATE NUMBER ROOM CASE 1609 294 H9 near 123 1600 903 A B H 8 102 1600 904 H8 102 1740 1700 1550 1565 04.3.471 279 IT _ n 9 H9 rl 0 H 8 near 125A near 67 near 107A near 107A 1575 708 rl 0 XL 10 1625- 1630 04.3.103 H9 near 36 1570 04.3.270 H 8 84 1550 1759 H9 47 I 500 389 IT _ H 9 near 35 161O 04.3. lOI, 102 H9 near 123 51 1600 1350 263 04.3.400 H9 H9 near 50 8 1584 1572 1777 1572 20.1 51.6 X5 H 8 1-1 7 H7 106 134 1548 327 H9 near 58 1550 370 H8 70 1550 1387 H8 87 152 LIST OF PERSONAG OBJECT Coustille Couteau de breche. Casque of guard . . Boar spear State halberd ES AND FAMILIES NAME Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Ferdinand I (Aus- tria) Ferdinand II (Aus- tria) I Wheellock pistols . Ferdinand II (Aus-| tria) Couteau de breche Ferdinand II (Aus- tria) Ferdinand II (Aus tria) Ferdinand II (Aus- tria) Ferdinand II (Aus- tria) Ferdinand (Ba- varia) Ferdinand (Bruns- wick) Fernando, Don (Spain) Fernando, Don (Spain) Ferdinand VI (Spain) Fonsecas (Roman) (Hayn?) Halberd dated Halberd Spontoon of fusileer. . Gauntlets Portrait Banner Pike-spontoon Horse trapping, Francis I (France)?. Helmet dated "(Austria) . Partisan " " " . . Lance Francis I and Maria Theresa Francis I and Maria Theresa Francis II (Austria) Banner Frederick Augustus (see Augustus) Partisan-spontoon . . . Partisan DATE NUMBER ROOM CASE I55I 277 H9 near 29 I55I 373 H9 near 67 1555 04.3.216 H 8 1 10 1558 371 H9 near 56 1563 145 H9 near 59 1620 1 401 H9 64 161 5 04.3.97 H9 near 28 161 5 268 H9 near 28 161 5 383 H9 near 28 1596 376 H9 near 51 1598 96.5.19 H 8 near 93 1670 275 H9 near 123 1760 53 H 9 near 1 14 1625 897 H 8 102 1640 Li 759.75 H 7 1750 1 1 .181.2 H 9 near 29 1750 428 H9 near 66 1650 x6 H 8 near 1 1 1 1543 17.190.1720 H 8 107A 1745 425 H9 near 1 14 1745 426 H9 near 1 14 1745 431 H9 near 1 14 1750 230 H9 near 1 16 1800 1823 H9 near 62 LIST OF PERSONAGES AND FAMILIES I53 NAME Frederick 1 (Prussia) Frederick the Great (Prussia) Frederick the Great (Prussia) Frederick the Great (Prussia) Frederick (Nassau). OBJECT Flintlock pistols. Frederick Louis (Prince of Wales)? Frederick William I (Prussia) Frederick William I (Prussia) Frederick (Saxony). Furstenberg, Land- graf von Gaucourt, de Genouilhac, Gour- don de (Galiot) . . Genouilhac, Gour- don de (Galiot) . . Gonzaga, Duke of. . Gonzaga, Galeazzo . Grasse-Brianfon, Charles de Guaita (Frankfurt) Guidobaldo 11 (Ur- bino) Guise, Due de (Fran- cis of Lorraine)?. Gustavus Adolphus. Guzman, Filipe. . . . Harstene, Captain H. L Hatzfeldt, Franz von belt Head of banner stave Spontoon Pike Commemorative sword Broadsword .... Spontoon in prince's regiment Banner Sapper's axe Spontoon Sword Equestrian armor dated Book of bits Fauchard Bit Portrait dated Colletin Shoulder piece, Gauntlets Commemorative sword Breastplate Wheellock pistol . Presentation sabre. , State partisan DATE NUMBER ROOM CASE 1700 04.3.195-6 H 9 121 I7IO 1239 H9 127 1750 H9 near 1 14 1750 236 H9 near 1 14 1750 Ol rl 9 near 1 14 1650? 1153 H9 133 1750? I I 50 H 9 122 I 700 67 H 9 near 1 14 1735 uean v-.ou. H 9 near 52 1650? 96.5.52 H9 127 1700 141 H9 near 1 14 1425 04.3.276 H 9 2015 1527 19.13 1 .2 H9 E9 1540 H9 T28 1550 04.3.84 H9 near 36 1400 04.3.478 H 9 8 1603 1869 H7 1675 16.134 H 9 1 22 A 1550 714 H 8 104 1563? 04-3-34»35 H 8 102 1650? 1 1 53 H9 133 1000 or — 867 LI „ H 9 122 1630 1426 H 8 86 1856 99.6.1 C32 1642 350 H9 near 49 154 LIST OF PERSONAGES AND FAMILIES Hedwig, Kurfurstin (Saxony) Hedwig, Kurfurstin (Saxony) Hedwig, Kurfurstin (Saxony) Hedwig, Kurfurstin (Saxony) Henry I OBJECT Armo r of state guard Cartridge box . . dated State halberd (France) Henry HI (France) Henry IV (France) Henry VI H (Eng- land)? Henry VIII (Eng. land) Henry, Prince of Wales? Hohenens, Marcus Sittis von (Prince archbishop of Salzburg) Innocent XI (see Odescalchi) Joan of Arc? Johann Georg I (Saxony) Johann Georg I (Saxony) Johann Georg 1 1 (Saxony)? Johann Georg III (Saxony) ? Johann Georg 1 1 1 (Saxony)? Miner's axe Mace Chamfron Burganet Pistols and primer. . . Burganet Morion, cabasset, and shield Helmet Sword Cannon presented to deVendome. .dated Skirt of armor , Pistol-bucklers . Gauntlets Fauchard , Basinet Halberds Partisan Rapier Wheellock pistols State partisan . . . DATE NUMBER ROOM CASE 1570 71 1 A H 8 92 I S?! I 500 H 8 1 01 I 609 H 0 near 123 1609 96.5.52 H9 127 1540 04.3.59 H 8 102 1539 04.3.253 H9 38A .1550 04.3.217 H 8 103 I so H 8 1550 613 H 8 98A 1558 1851,1853, H 8 103 1580 1884 04.3.201 H8 109 1600 I 193 H 8 90 1606 1813 H9 near 122 1530 790 H9 near 42 1540 745, 746 H9 near 40 I6IO? 899 H 8 103A XVII 459 H9 near 67 1400 04.3.241 H9 10 1620 04.3.78-80 H9 near 124 1650 120 H 8 near 89 1650 1117 H9 125 1675 1399 H9 64 1680 331 H8 69 LIST OF PERSONAGES III NAME Johann Georg (Saxony)? Johann Georg 1 1 1 (Saxony) John III. Sobieski. . John XXIII, Pope . Jones, John Paul . . . Joseph I (Austria). Juan Jose (Austria, natural son Philip IV) Julius II (Bruns wick) Julius II (Bruns- wick) Julius II (Bruns- wick) Julius 1 1 1 (Pope) . Lafayette, General Laganes, Marquis de (see Guzman) Lattisani (see Gon zaga) Leo X (see Medici, Giovanni de') L'Espin, de (Ant- werp) L'Espin, de (Ant werp) Leze (Venice) Lorraine, Duke of (de Dreux) Lorraine (Charles the Great)? Lorraine (Charles the Great) Lorraine (Charles the Great)? Lorraine (Charles the Great)? LouisXIII(France)? OBJECT State partisan AND F A M DATE NUMBER I L I E S 155 ROOM CASE Battle-axe. . . . State partisan Badge Corselet Couteau de breche dated Sword cane. Armor of state guard Cartridge box . .dated Two-handed sword Casque of state guard Presentation sword Banner, Buckler. Spur, Partisan Morion-cabasset , Partisan Armor Neck armor. Burganet . . . 1680 1700 1680 1680 1410 1775 1694 1575 1570 1571 1573 1550 1824 1634 1810? 1570 1400 1570 1580 1600 1 560 1620 1640 I 393 332 251 378 04.3.407 Dean Coll 369 04.3.42 71 1 A 1 500 04.3.60 04.3.222 19.20 i«i5 1826 750 1737 266 532 257 1666,717 883 604 H9 H9 H9 H 8 H9 H9 H9 H 8 H 8 H8 H 8 H 8 H7 H9 H9 H9 H9 H8 H 9 H 8 H 8 H 8 H 8 near 29 near 124 near 1 17 69 8 near 133 near 29 91 92 near 93 1 10 134 near 8 near 57 near 54 16 70 60 70 75 90 113A 156 LIST OF PERSONAGES AND FAMILIES NAME OBJECT DATE NUMBER ROOM CASE LouisXIII(France). Wheellock gun 1640 04.3.164 H 8 87 ? Lantern of Royal Treasury 1640 04.3.480 H 9 near 25 Louis XIV (France) State partisan 1680 454 H9 119 Partisan, regimental. 1680 27 H9 near 65 Corselet of state guard 1690 868 H9 1 19 Partisans of channel 1710 04.3.64,65 H 8 70 Parade casque and shield 1710 04.3.259,260 H9 1 19 „ Banner 1700 14.28.2 H9 1 19 Louis XV Harness given to king 1750 04.3.471 H9 IlCdr I 2 5 A 1750 1829 H8 near 1 13 Banner 1760 1816 H9 1 19 Louis XVI 1780 13. 118 H 8 near 1 10 Louis XVIII (France) 1815 20.149.5 H8 near 94 Maria Theresa (see Francis I and Maria Theresa) Marschalk (see Zol- ler) 04.^.67 iviaiinias ^/\usiria^. Halberd H 8 near 93 1612 387 H9 near 123 1612 461 H9 near 123 „ 1600 12. 141 .6 H 8 69 Maugiron. Marquis de 1580 1 182 H 8 82 Mauriceof Orange?. Neck armor 1620 885 H 8 90 Maximilian I (Ba- wneeiiocK n arque- bus 1600 04.3.179 H 8 87 Maximilian, Joseph (Bavaria) Couteau de breche . . . I 771 370 H 8 70 Maximilian II (Aus- tria) Halberd I 570 08.261.3 H 9 near 51 Maximilian II (Ba varia) Lock of matchlock . . . 1720 1484 H9 62 Medici, Cosimo I, de' Casque of state guard 1550 04.3.219 H 8 107 Medici, Cosimo I, de' Casque of state guard 1550 615 H8 107 LIST OF PERSONAGES NAME Medici, Cosimo I de' Medici, Cosimo II, de' Medici, Ferdinand II de' Medici, Francesco 1 1 de' Medici, Giovanni de' Medici, Giovanni de' Medici, Lorenzo de Memmo, doge Marc-Antonio. Mocenigo (? doge Alvise) Monferrat, Marquis (see Paleologos) Monte, del (see Jul- ius III) Montmorency Montpensiei (see Bourbon) Moritz (Nassau)?. . Morris, Lewis Muniz, Juan Napoleon I? Napoleon, Joseph . . Neuburg(Kloster) . . Ney, Marshal?. . . . Odescalchi, Bene- detto Onate, Conde de. . . Orth, Johan (Arch- duke) Otto Heinrich von der Pfalz Ottoboni,Pietro (see Alexander VIII) OBJECT Halberd of guard. . . Portrait with helmet Portrait Banner AND F A M DATE NUMBER LIES 157 ROOM CASE Presentation sword dated Small banner Guisarme of guard State fauchards , Sword Drum Breastplate Sabre Halberd Fowling-piece p r e - sented to Marshal Ney Halberd Partisan .... Fowling-piece Stirrups . . . , Breastplate, Banner of Bosnian campaign Shield ornament of chamfron 1550 1735 1 516 I 520 1490 1612 1575 1700 1540 1780 1659 I»I0 1810 1630 1810 1680 1555 1529 32 Li 759.76 Li 759.77 13.116.2 1203 1832 37 04.3.101,102 04.3.27 04.3.469 1855 19.134 20 L 2010 85 297 L 2010 1760 04.3.278 13.1 16.1 1654 H 8 H7 H7 H9 H9 H9 H 9 H 9 H9 H9 H 8 H7 H 8 H9 H9 H9 H9 H9 H 8 H5 H 8 near 104 near 5 1 41 A 41 A near 26 near 5 1 123 46 near 125A 107 134 near 104 121 near 1 14 near 50 121 41A 92 near 0,57 83 158 LIST OF PERSONAGES AND FAMILIES NAME Paleologos, John?. . Pare, Ambrose? .... Paul V (see Borghese) Pedro II Peter the Great. . Philibert, Emman- uel (Savoy)?. . Philibert, Emman- uel (Savoy)?. . . . Philibert, Emman uel (Savoy)?. . . , Philibert, Emman uel (Savoy)?. . . . Philibert, Emman uel (Savoy) Philip II III V Piombini (Treviso) . Pisani, doge Luigi . . Pitt, Rt. Hon. Wil- liam Poitiers, Diane de (see Diane) Preelaert (Bruges).. Preysing, Baron von? Preysing, Graf Max Quinones, Count of Luna in Leon .... Radzivil, Niclas OBJECT Ivory saddle Surgical instrument Armor Spontoon of guard , DATE NUMBER ROOM Wheellock gun Powder horn . . Key of wheellock. Helmet Halberd (military fork) dated Armor Lance rest Gauntlets Buckler (adarga) .... Mace-pistol Saddle iron Gauntlets Gauntlets State partisan Banner Armet a rondelle .... State fauchard Gorget . Banner. Complete armor. Harquebus Badge Rondelle of tilting lance Tassets Part of crinet Shoulder plate Chamfron 1440 04.3.250 H9 9 1550 1769 H 9 68 1675 15. 113. 1 H 9 130 1700 143 H9 near 1 14 1575 04.3.180 H 8 87 1575 1448 H9 63 1575 04.3.183 H 8 87 1575 607 H 8 109 1579 326 H9 near 49 1554 04.3.278 H8 92 1554 914 H9 60 1555 901 H8 102 1 560 752 H9 near 61 1565 1324 H8 102 1565 1678 H 8 83 1585 19.128. 1-2 rl 0 1 03 A 043 -34-3 5 H 8 102 1715 333 H 8 70 1725 09.174 H 8 near 89 1475 20.1 50.1 H9 20 1735 04.3.104 H9 near 42 1790 17.13 H9 133 181O? 1826 1 1 „ H 9 near 61 1630 702 H9 124 1700 96.5.29 H9 121 XIV 04.3.361 H9 8 1575 885 H 8 74 1575 881 H 8 74 1575 854 H 8 74 1575 856 H 8 74 1575 21 .42 H 8 74 LIST OF PERSONAGES AND FAM OBJECT LIES 59 NAME Rasson (Tournai) . . Ratcliffe, Thomas (see Sussex) Reitenau, Wolfgang Dietrich von (Salzburg) Rinschot, Count . . . Riviere, Baron (see Rinschot) Rojas (Aragon) .... Romano (Andalusia) (Barco?) Rota (Venetian) . . . Rovere, Delia St. Pierre-Yette (see Rinschot) Salzburg (see Reit- enau) Savoy-Nemours, Jeanne Scala (Can Grande) Scudamore, Sir James Sessa, Duke of (see Cordoba) Sigismund, Francis, Archduke Sixtus V Smerowski (Poland) Smith, Captain John Sobieski (see John III. Sobieski) Soning of Nord- lingen (Bavaria) . Spaur (Bavaria) . . . Sussex, Earl of Teixeira Theodore, Johann (Bavaria) Tiepolo Banner. State halberds . Banner Banner. . . . Fauchard . . Portrait . . . Half-armor . Fowling crossbow . Stirrup Armor . Halberd Rapier of the Albani. Embroidered hanging Shield Wheellock pistol dated Partisan Gauntlets Standard Coustille. Fauchard DATE NUMBER ROOM CASE XVIII 12. 162. 6 H 9 near 59 1589 328,300 H 8 near 80 1634 I Qi 1- Ic5I 5 14 Q H 0 near 75 1350 04.3.344 H9 8 1490 Dean Coll. H9 1550 343 H 8 near 70 1575 Dean Coll. H7 XVII 698 H9 120 1650 1583 H 8 106 1320 1765 H9 18 1585 1 1 .128 u 0 H 0 94. I D03 12. 141 .10 H 9 near i2; 1585 04.3.23 H8 91 1600? 1831 H9 125 1585 04.3.277 H 0 80 I 61 2 04.3.194 H 9 64 1600 295 H 9 near 50 1583 12.87 H 8 102 XVIII 12. 162. 1 H 9 near 2 1528 361 H9 near 29 XVI 12. 141. 5 H 8 70 XVI 12.141.7 H8 69 1 520 264 H 8 70 l60LIST OF PER SO NAG ES AND FAMILIES NAME Tiepolo .... Tremouille, M a r - quis de la Ulrich V (Wurtem- berg) Valmarana (Venice) Van Houssem (Am- sterdam) Vendome, Duke of. Victor Amadeus II (Savoy) Victor Amadeus II (Savoy) Victor Amadeus II (Savoy) Victor Amadeus II (Savoy) Victor Amadeus II (Savoy) Victoria, Queen .... Villery (Flanders) . . Visconti Werdenstein (Swabia) William IV (Ba- varia) William varia) . William varia) . William varia)?. . . William IV varia)? William V(Bavaria) Ximenes, Marquis de Zoller (Bavaria) , . . IV IV IV (Ba- (Ba- (Ba- (Ba- OBJECT Fauchard Helmet Crossbow dated Fauchard Fauchard Harquebus (Pair) . Cannon dated Spontoon Banner Presentation sabre Plastron Pike-spontoon .... Boar spear Saddle Chamfron Crinet Gauntlets Beaver Partisan Rapier and dagger. Partisan DATE NUMBER ROOM CASE 1550 273 H 8 70 1 590? 590 H 8 75/\ 1460 04.3.36 H9 17 XVI 12.141.7 H 8 69 1550 273 H 8 70 XVII 1417 H 8 86 1606 1813 H9 near 122 1700 04.3.71 H 8 near 70 1700 04.3.72 H 8 llCctl /LI 1 700 04.3.70 H 8 near 69 1700 04.3.99 H 8 near 69 XVII 13.102 H 8 near 69 1856 99.6.1 C32 1 560 794 H 8 70A 1700 430 H9 near 1 17 1590 456 H9 near 59 1529 1653 H9 E7 I 6'i4 H 8 83 I ^2Q 1 6^ ? H Q E 1530 i860 H 8 74 662 H Q 60 1595 297 H9 near 50 1595 306 H 8 near 80 •595 322 H8 near 93 1600 1188,1313 H 8 82 1690 414 H9 near 116 INDEX OF NAMES AND COLLECTIONS A Ailette, 38 Anneau, 67 Arbaleste, 80 Armet k rondelle, 52 B Banded mail, 37 Bandolier, 94 Barbute, 50 Barding, 62 Basinet, 42 Beaver, 49, 61 Bee de faucon, 55 Berdiche, 56 Biga, 26 Bishop Collection, 144 Bombard, 44 Bracer, 78 Braconniere a tonnelet, 60 Brandestoc, 68 Brassard, 143 Brayette, 39 Brayton-Ives, 15 Brigandine, 50 Buflfe, 71 Bungakuodori, 120 Burganet, 71 C Cabasset, 71 Camail, 38 Celt, 21 Cesnola, General di, 15 Chamfron, 63 Chapel-de-fer, 50 Chauve-souris, 56 Cinquedea, 58 Corinthian casque, 28 Cric, 80 Criniere, 63 Crossbow a jalet, 82 Croupiere, 63 Cuir bouilli (boiled leather), 48. 47 Cuissard, 28, 96 D Dague a rouelle, 57 Daisho, 130 Damascus steel, 140 Damaskeening, 76 Deutsches Stechen, 64 Do-maru, 122 E Ellis, Augustus Van Home, 14 Epaule de mouton, 46 F Falconet, 44 Fauchard, 76 Field, William B. Osgood, 15 Flintlock, 90 Fuchi, 131 * l62 INDEX OF NAMES AND COLLECTIONS G Glaive, 56 Goat's foot, 80 Gorget-plate, 99 Guisarme, 56 H Haramaki, 122 Hashi, 131 Heaume, 43 Hunt, Mrs. Ridgely, 15 J Jazeran, 25 Jim-bauri, 124 Jingasa, 125 Joline, Mrs. Adrian H., 15, 132 K Kashira, 131 Katah, 144 Katana, 130 Kogai, 131 Korseke, 56 Kozuka, 131 L Leary, George, Jr., 91 Lefferts, Dr. George M., 15 Lorica catenata, 36 M Main gauche, 103 Manteau d'armes, 67 Matchlock, 85 Menuki, 131 Mon, 115 Monell, Ambrose, 7 Moore Collection, 143 Morion, 71 Morgan, J. Pierpont, 18, 32, 40, Plate xxxi N Naginata, 133 Namban-tetsu, 127 O Offerman, Theodore, 83 O-yoroi, 121 Olifant, 40 P Palstave, 24 Pansiere, 60 Partisan, loi Pas d'ane, 67 Pell, William Cruger, 15 Petronel, 88 Peytrel, 40 Pied de biche, 56, 80 Pierrier, 44 Pike, loi Pilum, 31 Poitrel, 63 Pourpoint, 100 Primer, 88 Prodd, 82 Q Quarrel, 81 INDEX OF NAMES R Riggs, William H., 9, 16, 84 Rondache, 72 Ruestung, 80 Runka, 56 S Sabbaton, 71 Salade, 50 Scramasax, 33 Sharfrennen, 64 Snaphaunce, 89 Solleret, 47 Spangenhelm, 33 Spanner, 87 Spontoon, 10 1 Stone, George C, 12, 144 Stradiote, 57 Stuyvesant, Rutherfurd, 14, 18, 53, 60, 83 T Tachi, 130 Tanto, 130 AND COLLECTIONS Tapul, 70 Tasset, 96 Tesching, 88 Tsuba, 131 Tsuchi-ningyo, 120 U Ueber die Pallia, 64 Umbril, 97 V Ventail, 70 Visor (visiere), 61, 70 W Wakizashi, 130 Watagami, 120 Welsches Gestech, 64 Wheellock, 85 Y Yakiba, 129 Yano-ne, 135 OF THIS HA 1,000 COPIES HAVl IN JANUAR-i A SECOND EDITION WITH CORRECTIONS I IN MARCH A THIRD EDITION ' WITH CORRECTIONS ANE HAS BEEN PRINTED 1