Another gallery. This time of children's knight armor.

Armor at the Vienna Art Museumhistorical In the museum, in the halls of the Court Hunting and Armory Chambers, they stand completely open, at arm's length, which allows one to examine them from all sides

Only he is dear to me among the princes,
Who is ready to rush into battle,
So that with his ardent valor
To invigorate the hearts of your fighters,
Jingling with armor.
I won't give anything for those,
Whose sword is stubborn in inaction,
Who, getting into a fight,
He is so afraid of the wound that he himself
Does not hit enemy fighters.
Bertrand de Born (1140–1215). Translation by V. Dynnik
"Poetry of the Troubadours. Poetry of the Minnesingers. Poetry of the Vagantes." Moscow, Khudozhestvennaya Literatura, 1974

Artifacts of history. It's been a while since we've had anything chivalrous on our website. Of course, there's been plenty written about knights, their weapons, armor, and battles. In fact, one might even say, more than enough. Even about chivalric romances, there have been several articles in a row, and it turns out that the "reading Middle Ages" is not a myth or fantasy at all. It's also worth remembering that a great deal of knightly armor was made in the Middle Ages. And all of it—that which has survived to this day—is of great interest to historians. And also to those simply interested in history—after all, it's been proven that the most interesting information is also the most useless for most people. Otherwise, we'd only read about how to plant in the garden, cook delicious and nutritious food—that is, about something that's practically useful, and nothing more. That... but no, we're drawn to reading about "interesting things," even if we don't really need them in life. Well, since that's the case, today let's visit another gallery of historical artifacts, but this time it won't be revolvers and pistols that will be on display, but children's knightly armor!

We already had an article about them on our website two years ago. But back then, it was based on a book published in England, the text of which was obtained through the help of one of our regular readers "from there." Today, we have a completely different source of information: the Kunsthistorisches Museum Vienna and the Court Hunting and Armory Chamber.

I personally had the chance to visit there back in 2020, just before the COVID epidemic, and what I saw left a profound impression on me. Nowhere, not in the Kremlin Armory, not in the Dresden Armory, not in the Army Museum at the Palais des Invalides in Paris, had I seen such a quantity of ancient armor and weapons, and displayed for public viewing in the most modern manner. Only the bare minimum of exhibits, primarily bladed weapons and firearms, were behind glass. The vast majority, including a phenomenal amount of knightly armor, were displayed completely freely, with no glass obscuring them or interfering with photography. Each exhibit had detailed captions in German and English, and the most interesting ones had access points for connecting to an audio guide.

Due to time constraints, we weren't able to photograph everything, and some exhibits had to be omitted entirely. But time has passed, and now our story about the museum's collections of medieval weapons and armor will continue. And the first thing we'll talk about is the children's suits of knightly armor on display.

Let's remember one simple and straightforward truth: no one, ever, anywhere in the Middle Ages seriously expected children aged 7-10 to fight in them! That is, all the armor we see in museums today is ceremonial, but it served as formal attire and nothing more. Clearly, wearing it strengthened the muscles of feudal lords' children and provided them with valuable military training.

The future knight grew accustomed to his metal armor from childhood and wore it without noticing the weight or discomfort. But showing other feudal lords—that is, his fellow knights—that you could afford such extravagance was very, very important. Showing that you could order armor even for a rapidly growing child.

Children really do grow quickly, and armor… it was very difficult to make quickly. Firstly, the client might live far away from the contractor. So what to do? Send measurements? But how do you measure the son of a king or an archduke? Like they measured Porthos in Dumas's novel "The Vicomte d'Bragelonne"? They found boys of suitable build and height and measured them. Or they sent the armorer a doll stuffed with bran or sawdust. The finished armor was then taken to the fitting room for a fitting. And the child was growing! So they had to work very quickly, putting off all other orders… And this, in turn, increased the cost of producing the armor.

But the armor was ready, it was delivered, it was given to the lucky boy as a gift, he wore it for a while, and... a year later, he'd outgrown it! So what to do? Order new ones so everyone knows would know, "I can do that!" Otherwise, they'd laugh. They'd say, "It was only enough for one suit of armor for a seven-year-old boy! He must have gotten poor..." A direct blow to the family's knightly honor.

Moreover, the social function of knightly armor for children became especially evident not so much in the Middle Ages as in the modern era. That is, in the 16th and 17th centuries. Armor at this time acquired a certain aura of antiquity and nobility, becoming not only a symbol of a bygone era but also an iconic expression of the aristocratic lifestyle, becoming a visibly expressed status symbol. There are well-known examples of royal courts where the confidants of kings and queens wore silver armor. It offered no protection whatsoever, but it was beautiful. This all happened because the social ideal of a man, even a very young one, was... that of a warrior. Therefore, by dressing their young sons in armor, adults emphasized their social status, as armor represented the dress code of the feudal nobility of the time. Moreover, the astronomical cost of the ceremonial armor of court society also emphasized the feudal lord's right to be extravagant, to be unlike everyone else, because within a year the boy had to outgrow the set of armor made for him!

So, in our gallery you will see armor that belonged to the children of the most extravagant and wealthy parents of their time, who spared neither money nor effort to establish their social status, incredibly proud and selfish people, so that the coat of arms of each of them could well have been appropriate for the motto of the English kings: "My God and my right."

The first in our gallery is the armor of King Philip I (1478–1506), son of Maximilian I of Habsburg. It was crafted in 1488–1489 by the armorer Hans Brunner, who worked in Innsbruck from 1482–1499. The armor is 115 cm high. There is no particular pretentiousness or abundance of decoration. It is a very functional knight's armor and nothing more! Kunsthistorisches Museum Vienna, Court Hunting and Armory Chamber

His portrait as a child, by the artist known as the "Master of the Magdalene Legend" (c. 1480–1537). Huisberg Castle

Armor of the future Emperor Charles V (1500–1558), son of Philip of Habsburg. Material and technique: iron, forged, embossed, blued, metal not ground or polished. Leather (partly modern). Buckles and rivet heads: iron. Armorer: Hans Rabailer, called Peer (born 1501 – died 1519, worked in Innsbruck). They were made in 1511–1512, but remained unfinished. Apparently, Charles simply outgrew them. Although they are quite high: 152 cm. Total weight: 12,15 kg. The armor was commissioned by Emperor Maximilian I, son of Frederick III of Habsburg (1459–1519). Kunsthistorisches Museum Vienna, Court Hunt and Armory

Close-up of armor details…

"Emperor Charles V as a Child" (1500–1510). Artist unknown. British Royal Collection

A beautiful and exceptionally complex suit of armour for children, made in Milan, circa 1559. Total weight: 5,35 kg. Kunsthistorisches Museum Vienna, Court Hunt and Armoury

Another suit of armor for Emperor Charles V (1500–1558), son of Philip of Habsburg. Date of manufacture: 1512–1513. Materials/techniques: iron, forged, embossed, partly etched, openwork carving, partly fire gilding, partly gilded with gold leaf. Rivet heads – brass. Textile and leather – modern. The armorer-maker was the famous master Conrad Seusenhofer (born 1504 – died 1517, worked in Innsbruck). Height: 153 cm. Kunsthistorisches Museum Vienna, Court Hunting and Armorial Chamber

Emperor Maximilian I commissioned this suit of armour in 1512 for his twelve-year-old grandson Charles, the future Emperor Charles V. Conrad Seusenhofer, the emperor's court armourer from Innsbruck, began work on the suit in mid-March 1512 and completed it a year later, in the spring and summer of 1513.

The commission may have been prompted by plans for Charles's wedding to Mary Tudor, the sister of Henry VIII of England. In the summer of 1513, Henry, with Maximilian's help, launched a campaign against France. During the lavish celebrations of his victory in Tournai and Lille in October 1513, treaties of alliance were signed. The wedding was scheduled for the spring of 1514 in Calais. However, intrigues and shifting political interests ultimately prevented the alliance. The armor subtly plays on the contrast of materials: steel and textile. It consists of field armor with fashionable puffs and slits on the arms and legs. It features a pleated skirt adorned with gilded silver fittings bearing the emblems of the Order of the Golden Fleece.

Fingerless mitten and pleated skirt with cutout pattern

Knee pad

A pattern on a pleated "skirt" depicting the insignia of the "Order of the Golden Fleece"

Armor of Archduke Sigismund Franz of Austria (1630–1665), son of Archduke Leopold V of Habsburg. Attributed to Hans Frick (active in Innsbruck from 1616 to 1630). Kunsthistorisches Museum Vienna, Court Hunt and Armory

Armor of Archduke Ferdinand Charles of Austria (1628–1662), son of Archduke Leopold V of Habsburg. Attributed to Hans Frick. Made circa 1635–1638. Kunsthistorisches Museum Vienna, Court Hunting and Armory Chamber.

Reiter's armour that belonged to Archduke Ferdinand Karl (1628–1662), son of Archduke Leopold V of Habsburg, made in 1641. Attributed to Christoph Kremer (certificate of 1639, court armourer since 1662, worked in Innsbruck). Materials/technique: iron, forging, chasing, blueing, partial engraving. Decoration: blue etching. Rivets, visor: iron, partly engraved, partly gilded. Buckles: blued iron, partly gilded (modern). Leather (partly modern). Fabric: red velvet. Trim: silver thread. Height: 127 cm. Total weight without stand: 7,70 kg. Kunsthistorisches Museum Vienna, Court Hunt and Armory

Armor of André of Austria (1558–1600), son of Archduke Ferdinand II, Prince of Tyrol, and Philippine Welser. Attributed to Melchior Pfeiffer (established years of work: 1559–1571, worked in Prague and Innsbruck). Time of manufacture: c. 1568–1570. Materials/technique: iron, forging, chasing. Rivet heads, rosettes, buckles – brass, partially fire-gilded. Leather. Height 127,5 cm. Total weight (excluding base): 8,1 kg. Kunsthistorisches Museum Vienna, Imperial Hunting and Armory Chamber

Child's half-armour, circa 1575. Belonged to Paolo Francesco Carnesecchi (1508–1567), son of Pietro Carnesecchi. The armour was made in Milan around 1575 and passed into the hands of Ferdinando Charles about half a century later. Materials/techniques: iron, forged, chasing, blueing, partly fire-gilded. Buckles and strap ends: brass, fire-gilded. Rivet heads: iron, partly fire-gilded brass. Rosettes: partly copper, partly fire-gilded brass. Textiles: velvet (remnants), silk, silver braid, gold braid. Leather (partly modern). Height: 142 cm. Total weight without stand: 5,30 kg. Kunsthistorisches Museum Vienna, Court Hunt and Armory

Cuirass for the armor of King Philip I (1478–1506), son of Maximilian I of Habsburg, made around 1490. Armorer Jörg Treitz (d. 1466–1499, worked in Innsbruck). Materials/techniques: iron, forging, chasing. Rivets, buckles, rosettes – brass, partially gilded. Leather. Weight of breastplate: 0,90 kg. Weight of back: 0,60 kg.

Comments

[Kote Pan Kokhanka]

Beautiful!
Thank you Vyacheslav Olegovich for the article and illustrations.

[3x3zsave]

Beautiful!
Expensive and opulent! Vyacheslav Oegovich was right: capital investment. Only, a couple of centuries later, all this magnificent junk was bought up by the fattened bourgeoisie from the impoverished aristocracy for almost nothing less than the price of the metal, sometimes even the titles. And very little genuine military iron has survived, for it was used to rusting dust, or even melted down. Look, all that remains of Charles the Bold's is a bathtub.
Hello, Vlad!

[Nikname2025]

Incidentally, the topic of armor, even children's armor, has been covered to death, but no one has bothered to write about medieval childhood, the upbringing and education of children in those glorious times. A whole series of articles could be written about hornbooks alone.
In fact, of the remaining authors, only Shpakovsky is capable of this, but here he won’t be able to rewrite a finished article; he’ll have to put in some effort.

[Sergey Valov]

It was written a long time ago - The Prince and the Pauper. It would be difficult to write better.

[Nikname2025]

It's hard to write better.

The main enemy of knowledge is not ignorance, but the illusion of knowledge.

[3x3zsave]

With the same success, the history of the European Middle Ages can be studied from another book by the same author.

[Nikname2025]

The history of the European Middle Ages can be studied from another book by the same author

I'd say two. "A Connecticut Yankee in King Arthur's Court" and "Medieval Romance." Anyone who masters this entire "triptych" automatically earns the status of "VO website medievalist."

[3x3zsave]

The main thing here is not to confuse medievalists.

[Sergey Valov]

So the question was about children of the Middle Ages. There's a vast sea of ​​historical literature about the Middle Ages itself. As for the author, "The Prince and the Pauper" is a superb children's book that perfectly addresses the issue at hand, simply overshadowed by the Tom Sawyer books. "The Yankee," however, is more of a pamphlet, not at all intended for children.

[3x3zsave]

"The Prince and the Pauper" is a historical novel by Mark "Wen." Written in the author's Connecticut home and first published in 1881 in Canada, the novel ironically depicts the shortcomings and absurdities of the imperfect English government and judicial system of the 16th century.
Where is there anything here about the Middle Ages, and, especially, about raising children in that era?

[Sergey Valov]

"Where's anything about the Middle Ages, much less raising children in that era?"—that's certainly not the case in the internet quote. Have you read the novel?

[3x3zsave]

Have you read the novel?
Was reading.

[Sergey Valov]

Then you might remember its plot, which details the lives of two teenagers over the course of about two weeks in England in the mid-16th century, i.e., around the time the children's armor discussed in this article was made. While I certainly don't consider Twain's novel a historical study, I can surmise that the lives of English teenagers are depicted quite accurately.

[3x3zsave]

However, I can assume that the life of English teenagers is described there quite accurately.
I apologize for asking, Sergey, but have you read popular science works by authors such as Ian Mortimer, Simone Roux, and Marie d'Beaulieu?

[Sergey Valov]

No, I am not familiar with these authors.

[3x3zsave]

I recommend it. The modern view of medieval life and customs differs somewhat from Mark Twain's.

[Sergey Valov]

Dear Vyacheslav Olegovich, something is wrong with the dates in the photo captions:
1. Gunsmith-maker – the famous master Conrad Seusenhofer (born 1504 – died 1517)
2. Belonged to Paolo Francesco Carnesecchi (1508–1567), son of Pietro Carnesecchi. The armor was made in Milan around 1575.
3. Gunsmith-maker: Hans Rabeiler, nicknamed Peer (born 1501 – died 1519, worked in Innsbruck). They were made in 1511-1512.

[kalibr]

Quote: Sergey Valov

Dear Vyacheslav Olegovich, something is wrong with the dates in the photo captions:
1. Gunsmith-maker – the famous master Conrad Seusenhofer (born 1504 – died 1517)
2. Belonged to Paolo Francesco Carnesecchi (1508–1567), son of Pietro Carnesecchi. The armor was made in Milan around 1575.
3. Gunsmith-maker: Hans Rabeiler, nicknamed Peer (born 1501 – died 1519, worked in Innsbruck). They were made in 1511-1512.

I copied the data verbatim from the tables, only replacing foreign words with Russian ones. That's why I didn't pay attention to the numbers.

[Sergey Valov]

10 years of working as an editor have led to professional deformation - the eye itself is looking for mistakes.

[Dost]

I also noticed the childish artists. But I chalked them up to typos.

[solar]

It's not just childhood

1. Gunsmith-maker – the famous master Conrad Seusenhofer (born 1504 – died 1517
2. Belonged to Paolo Francesco Carnesecchi (1508–1567), son of Pietro Carnesecchi. Armor made in Milan around 1575

The armor was made by the master after his death for a child, who had also died long ago at the time the armor was made.

[Fat]

Hans Rabailer, called Peer (born 1501 – died 1519, worked in Innsbruck).

I saw another translation of the sign, where 1501 is the year the "brand"—the master's name—was first mentioned. https://vk.com/wall-179426715_2287

[solar]

There's an old Soviet joke about a man who finds himself in a cemetery in Georgia and looks at the tombstones. One reads, "Born 1905 - Died 1980, Lived 15 Years." Another reads, "Born 1920 - Died 1985, Lived 20 Years," and so on, all over the tombstones. He asks, "How can that be? Why does it say you lived so little?" They answer, "Here we think you're alive when you have a lot of money, wine flows freely, beautiful women surround you, and life sparkles all around you." The man thinks for a moment and says, "When I die, will you write 'Died before being born' on the tombstone?"

[3x3zsave]

After all, in just a year the boy was supposed to outgrow the set of armor made for him!
Since a boy usually had more than one son, younger sons would wear the armor worn by their elders. And if the younger children were girls, that was fine too; the armor would serve as a dowry for future grandchildren. In a knight's household, even an ox's tail is a rope. Otherwise, it wouldn't be long before they'd end up in the world.
Thank you, Vyacheslav Olegovich!

[kalibr]

Quote: 3x3zsave

and the younger sons wore the armor of the elders.

Yes, that's how it all was. Armor is capital!

[3x3zsave]

Well, there you go! I was just trying to make a joke...

[Kote Pan Kokhanka]

Quote: 3x3zsave

Well, there you go! I was just trying to make a joke...

Armor was always a source of capital, sometimes the only one, for younger sons. If a warhorse was left as a result of entail, it offered a chance to pursue a career in the service rather than enter the clergy.
Hello Anton, salute to the honest company!

[3x3zsave]

If a warhorse was given to one by the entail, then there was a chance to make a career in the service, rather than go into the clergy.
Neither is necessary. Guy d'Nogaret became a knight when he was already over forty. In the second case, one could have married well, as, for example, William Marshall I of Pembroke.

[Kote Pan Kokhanka]

In the second case, it was possible to marry successfully,

With a horse and armor, the chances of getting married successfully are much greater than without either.

[3x3zsave]

Well, Geoffrey Chaucer somehow managed to marry the heiress of both the Capetians and the Platangenites without these trappings.

[Semovente7534]

The young man's armor described in the article is magnificent. Then I did a little research and found a little-known museum housing an extensive collection of medieval arms and armor. It's called the Luigi Marzoli Arms Museum and is located in a castle in Brescia. It's said to be one of the richest collections in Europe, judging by the number of exhibits.

[lisikat2]

Good evening, Vyacheslav Olegovich, friends.
It seems that showing off is more important than anything: "silver armor doesn't protect against anything, but it's beautiful."
Is it hard to imagine a situation like this: two courtiers of Emperor Maximilian quarreled and each stabbed the other. Even at the table, it could have been more detailed.
If I'm not mistaken, the table knife appeared no earlier than 1626 in Paris.

[lisikat2]

Friends, have you noticed that this is Innsbruck armor!?
There were probably renowned gunsmiths there. I watched the film "Dagger" on YouTube, and there were the famous hallmarks: Pvssau gunsmiths [media=http://]

[lisikat2]

There were: Lily, French gunsmiths and a scorpion, the emblem of eastern gunsmiths, but Innsbruck is not there?
So, in Innsbruck they weren't as "cool" or did they appear later?

[dnestr74]

Maybe it's boring. BUT SOMETHING IS WRONG
the famous master Conrad Seusenhofer (born 1504 – died 1517)????

[Panin (midshipman)]

It seems like all your masters died at an early age. Is it even possible for someone to become a master at 19?
Conrad Seusenhofer (born 1504 – died 1517)
Hans Rabeiler, called Peer (born 1501 – died 1519, active in Innsbruck)