An
exciting addition to MAG’s Renaissance collection is a beautifully decorated
suit of etched armor.
 |
| Suit of Armor |
The
armor is a partial set consisting of etched steel pieces--helmet, breastplate
and tassets (thigh protectors), backplate, gorget (collar) and shoulder plates.
The breastplate is dated 1562, and the other pieces date from the same period.
All were made by the same workshop for the Dukes of Brunswick, and all would
have been worn by the Duke’s knights and soldiers as they battled neighboring
states and honed their skills in tournaments and jousts.
In
addition to being historically important, the armor is also a significant
artwork that illustrates Old Testament stories, classical myths, and
Renaissance birds, beasts and grotesques. On the breastplate, a medallion
illustrating the Old Testament story of Daniel in the Lion’s Den is inscribed
in German “My life and destiny rest in God’s hands. O my lord God, I pray that
you protect my soul, life and honor. 1562.”
A
panel at the top of the breastplate is decorated at left and right with the Old
Testament scenes of Cain killing Abel and Abraham preparing to sacrifice
Isaac. A center vertical panel is split into three sections. At the
top is the Old Testament scene from the Book of Samuel showing Joab kissing and
stabbing Amas. (King David named Amas rather than Joab head of his army; in
retaliation Joab pretended to greet Amas with the traditional kiss and instead
stabbed him.) Two classical figures are in the middle section, and a satyr can
be seen in the lower section. The side panels are decorated with
classical and allegorical figures.
The
decorations on the backplate are similar to those of the breastplate. Scenes
from the story of Adam and Eve are found at the top. One shows Eve emerging
from Adam’s rib; the other shows the Temptation, with the devil in the form of
a snake inviting Eve to become all-knowing by tasting the apple. Like
the breastplate, the central panel of the backplate is split vertically into
three sections. At the top are two long-legged birds; the scene of
Samson and the lion is in the center; a clothed half-figure surrounded by flags
is in the lower panel. The side panels are decorated with classical allegorical
figures. The main bands of the helmet are decorated with a hunting
motif of hounds chasing rabbits.
The
era of plate armor lasted 300 years, from about 1340 to 1650. Before
that time soldiers had worn garments of chain mail, made up of hundreds of tiny
metal rings hammered and linked together to form a mesh. This protected the
wearer from slashing swords, but newer, deadlier weapons called for protection A
mace was capable of crushing bones, and a lance or arrows shot from powerful
longbows were able to pierce coats of mail. Arrs tried padded garments to
lessen the impact when a knight was hit, and finally used pieces of solid
metal. Eventually a combination of padding and plate armor was used to produce suits of armor. The knight would put on a padded undergarment first. This not only gave
him protection in battle, but the padding made the metal plates a
bit comfortable.
Another
factor that called for the development of plate armor was the rapid development
of firearms. The first cannon fired in Europe was in Italy in 1330. Portable
firearms appeared in armories in the 16th century, gradually
superseding bows, swords and pikes (lances some 12 feet in length) as infantry weapons. Plate
armor, made from solid metal, now had to be strong enough to protect the wearer
from gun fire.
But
this strength required heavier metal, which was difficult to manipulate. The
armor was therefore redesigned as an ensemble of lighter pieces attached to the
padded body of the soldier. The parts were articulated to allow movement, much
like the tail of a lobster. Knowledge of human anatomy was necessary
for arrs to design plate armor that would bend with the movements of the body.
The
parts of the fighter’s body most at risk to life-threatening injury--head,
chest and shoulders--were most heavily protected. Next highest
priority was given to body parts active during combat: arms, hands, elbows,
knees and legs. Finally, feet were given protection. The amount of
armor each soldier had depended on his military rank and what he could afford.
The king wore full armor, specially designed and artistically decorated; the
aristocratic cavalrymen, such as officers, were typically protected by a
complete, or almost complete, suit of armor with as much decoration as its
wearer could afford. The foot-soldier would be issued half armor,
protecting only his chest and head. These items were mass-produced, not
custom-designed. The infantrymen were the most vulnerable--and expendable--in a
battle.
The
further development of firearms finally led to the extinction of full body
armor. Once projectiles were able to penetrate plate armor, there
was no way to protect the wearer, and the armor became almost useless.
The
Gallery’s armor is from a distinctive Brunswick group identified in inventories
in 1667 and 1732. The bulk of this arsenal was sold off in the 19th century,
but the dukes of Brunswick kept the most attractive pieces to furnish their
castle. In 1942 the remaining pieces were transferred to Schloss
Marienburg in Germany, near Hanover, to avoid capture by invading Soviet
troops.
A
few years ago, the Royal House of Hanover decided to sell off the bulk of the
collection. MAG’s armor was acquired in 2006 from an arms and armor dealer. It
had been restored by a conservator specializing in armor and is in excellent
condition. According to Susan Daiss, director of education, it will attract
visitors of all ages, particularly schoolchildren, and will play a critical
role in the museum’s educational mission.
Source:
Curator of European Art Nancy Norwood and press release by Shirley Wersinger,
PR editor/graphics coordinator
No comments:
Post a Comment