Epic Craftsmanship
Prepare to feast your eyes on 10 breathtaking photos showcasing centuries-old European armor, masterfully crafted by talented armorsmiths of their time. Before we dive into the visual feast, let me provide some context to help you appreciate the fine artistry and ingenuity behind these remarkable armors.
Armor in the late Middle Ages and Renaissance era of Europe transcended its practical purpose and became an elegant symbol of fashion, social standing, and power. Much like the luxurious fabrics that adorned the elite, bespoke armor was thoroughly crafted to enhance the wearer’s image and showcase their elevated rank. However, despite its aesthetic appeal, steel armor proved cumbersome in battle, offering limited effectiveness.
Plate armor, particularly prized and exorbitantly priced, held an esteemed position among men’s clothing during this era. Its significance extended beyond the battlefield, proudly donned during triumphant processions, parades, and grand tournaments. Wearing armor showcased one’s high social standing, political influence, and military might. It comes as no surprise, then, that armor closely followed the fashionable trends of the time, capturing the essence of stylistic changes.
For example, in the late fifteenth century, Burgundian noblemen favored attire that accentuated elegance and ethereal qualities, with long pointed shoes and form-fitting garments in vogue. Armor crafted north of the Alps around 1480 effortlessly mirrored this style, even adopting the elongated pointed toe, known as poulaine, in its design. However, as the influence of the Italian Renaissance grew stronger in the early sixteenth century, rounder and more voluminous forms became the trend, consisting of both clothing and armor.
The decorative elements of armor held great importance, with armorers employing the technique of etching to engrave intricate designs onto the metal surface. Etching, originally invented by armorers, later found its way into printmaking and the works of renowned artists like Rembrandt. Swordsmiths pioneered this artistic process in the late thirteenth century, while armorers in southern Germany and the Low Countries began experimenting with it around the 1470s. By the late fifteenth century, etching had become an integral part of embellishing arms and armor, before eventually transitioning to the sphere of printmaking. Daniel Hopfer, a printmaker and armor decorator from Augsburg, is credited with the earliest surviving etchings.
Each piece of armor represented a fusion of steel, textiles, and leather, with leather straps interconnecting the various components to ensure flexibility and mobility. Padded linings not only enhanced comfort but also provided protection against enemy blows on the battlefield. Additionally, custom-made armor was furnished with opulent embellishments and stunning fabrics, although few examples have survived the test of time.
During the late Middle Ages and Renaissance, armorers held esteemed positions as highly paid and respected artists, with some even attaining nobility. Their exquisite creations commanded prices surpassing those of paintings or sculptures. Functioning as more than mere protective gear, armor became a tangible representation of the era’s spirit, reflecting its taste, ideals, and the social status of its wearer. These steel marvels pleasantly blended strength, style, and grandeur, capturing the period’s fashion-forward sensibilities. Worn during triumphal processions, parades, masquerades, and tournaments, they epitomized an elegant fusion of art and armor, bedazzling all who beheld their magnificence.
Following the display of the 10 breathtaking photos, I will delve deeper into the rich history of this splendid craft.
1- First and foremost, behold the magnificent Hercules armor of Maximilian II, Holy Roman Emperor (r. 1564–76). Crafted between 1555–60 CE, this remarkable piece highlights the power and grandeur of the Habsburg Empire. Prettified with elaborate ornamentation and mythological scenes, the armor symbolizes the empire’s universal claim to authority. It masterfully puts together references to antique precursors, alleged ancestors, and the Catholic faith, creating a visual masterpiece that exudes regal splendor.
2- Next up, feast your eyes upon the resplendent armor of Henry II, King of France, circa 1550. This exemplar stands as one of the finest and most exquisitely preserved French parade armors in existence.
Its surface is a breathtaking display of elegance, beautified with volutes shaped like intricately carved leaves and embellished with images of ancient figures and fantastical creatures from fairy tales.
This distinctive ornamentation reflects the ornate traditions of the late Renaissance and Mannerism.
The armor holds a treasure trove of artistry, preserving twenty original drawings thoroughly crafted by renowned Parisian artists of the mid-16th century.
3- Last, but not least, take a glimpse into the world of Milanese armorer Lucio Piccinino with this exceptional armor.
Commissioned for Alessandro Farnese, Duke of Parma, Piacenza, and Castro, and later presented as a gift to his uncle Ferdinand II of Tyrol, this masterpiece was created between 1575–1580.
Its craftsmanship is nothing short of extraordinary, showcasing the skill and artistry of Piccinino.
Every detail reflects the extravagance befitting a duke, from the crafted steelwork to the lavish adornments.
The craftsmanship of armorers and tailors shared unexpected similarities, their methods convoluting gracefully. Just as tailors employed various techniques to provide impeccably fitting garments, armorers too relied on similar aids to fashion well-fitted steel attire. Paper patterns were guiding beacons for armorers, just as they did for tailors, enabling the production of individual armor pieces. The proportions of the wearer were assessed using jerkins and breeches, mirroring the tailors’ practices. However, armorers often encountered a unique challenge — their clients were frequently unavailable for initial fittings or measurements. This obstacle posed a potential financial burden as it made it difficult for armorers to ascertain important details, such as whether the feet were straight or crooked, solely from the breeches sent by their clients.
Unlike the nimble tailors and their peripatetic noble patrons, armorers required well-equipped workshops and access to running water for their turning lathes. Consequently, they lacked the mobility of tailors, which compounded the aforementioned predicament. Exceptional circumstances compelled armorers to travel on long journeys to measure the girth and inner leg of kings or emperors. For instance, Eliseus Libaerts ventured out on a voyage from Antwerp to Stockholm in 1562, Jörg Seusenhofer undertook a similar journey from Innsbruck to Paris in 1539, and Kolman Helmschmid ventured from Augsburg to Madrid in 1529. On the contrary, Philip II of Spain adopted a different approach to ensure the perfect fit of his ordered armor. In Spain, he had wax casts meticulously created to replicate his legs, which served as a model for his armorer in Augsburg.
The apex of the elaborate relationship between steel and textiles during the early-modern era can be witnessed in armors crafted around 1510/20. These remarkable pieces mirrored and imitated contemporary male fashion. Textile patterns adorned not only the surface of such armor but were ingeniously incorporated into the steel parts, resulting in slashed or puffed hose, helmets resembling hats, and even poncho-like steel cloaks. The rigid steel assumed the pliability of soft textiles, defying expectations and blurring the boundaries between the two materials. An armorist, possibly of Flemish origin, demonstrated such ingenuity in 1515 by fashioning an armor for Henry VIII of England that featured a knee-length pleated tonlet, which was then the height of fashion. Among these remarkable examples, the most renowned is the Landsknecht armor of Wilhelm von Rogendorf, created in Augsburg in 1523. Its steel sleeves boasted heavy, soft folds and numerous slashes, reflecting the technical virtuosity and artistic audacity of its maker.
To contemporary viewers, these garments that melded costume-like aesthetics with functionality might appear curious, even outlandish. Our modern understanding of armor has been influenced by misconceptions dating back to the nineteenth century, perpetuated through plays and Hollywood films of the twentieth century. We persist in envisioning pitiable knights, burdened by oppressively heavy, squeaking armor. However, the Collection of Arms and Armor in Vienna almost perfectly showcases the splendor and historical accuracy of these remarkable pieces. One of the world’s foremost and thoroughly documented collections of its kind, it comprises the Habsburgs’ extensive armory assembled at Ambras Castle near Innsbruck and the former imperial armory in Vienna. Spanning the vast history of the House of Habsburg, the collection exhibits pieces from diverse corners of Europe.
On a side note, presenting a collection of historical armor poses a fundamental challenge, primarily due to the often subpar quality of the figurines employed for display. Contemporary sources reveal the importance once placed on the elegance and opulence of armor. Ill-fitting armor during tournaments could even result in the loss of points, underscoring the significance of a well-tailored suit of armor. Unfortunately, in the nineteenth and twentieth centuries, most armors were exhibited on anatomically inaccurate mannequins that failed to do justice to the magnificence of these steel garments.
Images were taken from various sources (Google Images, NY Met Museum).
