Armor of the feudal nobility of the "era of decline"
The left shoulder guard of Sir John Smythe's three-quarter armour, which is on display in the Royal Armouries at the Tower of London
"Like wearing rich men's armor on a hot day, which will burn you with its reliability."
"Henry IV" by William Shakespeare
"Henry IV" by William Shakespeare
Stories about knightly weapons. In our previous article, we described two suits of armor belonging to King Henry VIII from the collection of the Royal Armouries in the Tower of London and Leeds. However, there are equally interesting suits of armor dating from the late 16th century, when plate armor had virtually lost its significance. If it continued to be used, it was primarily due to tradition and the inertia of thought. More and more often, it became the equivalent of court attire and nothing more.
A figure of Sir John Smythe, clad in armor and holding a wheel-lock pistol. It has appeared in numerous publications.
However, wealthy nobles also wore more practical, so-called "three-quarter armor" ("dart armor," "light field armor"), which differed from the earlier knightly armor in that it lacked armor on the legs, starting from the knee—here, metal was replaced by thick leather boots, and chainmail sleeves. In other words, protective gear of the late 16th century not only became increasingly lighter but also more comfortable.
That's why these armors weren't long enough to cover the legs, so they were called "three-quarter armor." Note that instead of shoulder straps, this armor uses metal fastenings with holes for conveniently securing the cuirass and adjusting it to clothing.
And it's precisely this kind of armour that's on display in the Military Gallery at the Royal Armouries in Leeds. It's Sir John Smythe's light field armour, made around 1580-1590 in Augsburg, Germany, but later modified in England.
The helmet is practically the same as the armored one. The only difference is that the viewing slit is a little wider…
Helmet – side view. Engraved decorations include a goddess with a sword and scales, and a warrior on a chariot.
Sir John Smythe (c. 1534 – 1607) was a remarkable and extraordinary figure. He served as a soldier, a diplomat, and even a writer, being appointed Elizabeth I's special ambassador to Spain in 1576. Incidentally, Queen Elizabeth I once called Smythe "a gentleman of her family," clearly showing her sympathy for him. Because Smythe spoke Spanish fluently and was familiar with military matters, he was entrusted with mediating between England and Spain on a number of trade issues and protecting Englishmen living in Catholic Spain from the machinations of the Inquisition.
A late 16th-century armor set could easily have not one, but several helmets. One for cavalry, and another—like this morion, for example—for infantry!
Sir John himself was apparently a practical soldier, as his armor reflects the latest trends in armor and is entirely consistent with contemporary views on the role of light cavalry on the battlefield in the late 16th century. On the other hand, surprisingly for a man wearing such modern armor, Sir John was a true retrograde in military science.
In 1595, he published "Instructions, Observations, and Orders. A Mandatory Requirement for All Chiefs, Captains, High and Low Officials and Officers...", in which he advocated for the retention of the longbow as the weapon of choice. weapons for English soldiers. Citing numerous contemporary and ancient sources, Smythe wrote about great victories achieved with the bow and argued for its usefulness in preserving English military might. The book ultimately sparked heated debate about the relative strength of the bow and pistol. But given the imperfections of contemporary firearms, it's understandable for veteran soldiers like Sir John to hold the bow in such high regard. People tend to cling to the past, whether it's the 16th century or even the 21st.
Sample of decor
Decoration on the cuirass
The back part of the cuirass
Whatever he wrote, however, what matters is the type of armor he commissioned for himself. It consists of a burgonet helmet; a buff; a morion; a gorget; a breastplate; a backplate; a right thigh plate; a left thigh plate; two gauntlets; and chainmail sleeves. The armor was simply but richly decorated with gilded stripes engraved with plant patterns and mythological figures on a chased background, executed in the "barleycorn" technique. Since this armor was not only for the rider but also for his horse—that is, it was a plate suit—it included metal saddle pads and a half-chaffron (partial plate protection for the horse's head).
Portrait of Field Marshal George Wade (1673-1748) by Johann van Dienst (1695-1757)
The Old Tower Collection. Sir John Smythe bequeathed this armour to King James I in 1607. It was then held in Greenwich in 1611 and delivered to the Tower Armoury in 1649. It was sent to Windsor Castle in 1686 and returned to the Tower in 1914. Interestingly, the breastplate of this armour was depicted in a portrait of Field Marshal George Wade (1673-1748) by Johann van Dienst (1695-1757), which was sold at Sotheby's on April 9, 2001.
Sketch of the Greenwich Armour, from the Almain Album. Created for Sir John Smythe.
An exquisite gilded shield made for Sir John Smythe, circa 1575–1585. This elaborately decorated shield features gilded personifications of the virtues of Fortune, Justice, and Fortitude. Currently housed in the Metropolitan Museum of Art.
Sir John Smythe's armor is 1800,0 mm high and 800,0 mm wide. This means he was well-proportioned in height and build, just like King Henry VIII.
Since this set of armor was a set, it also included parts of horse armor, in particular a saddle pad and a horse half-brow guard.
Here it is, this is a half-length forehead protector for a horse's muzzle.
John Smythe's Gauntlet of Armor
Around the same time, around 1590, a suit of armor, containing components for both field and tournament armor, was commissioned by Friedrich Wilhelm I, Duke of Saxe-Weimar. He is sometimes referred to as the Duke of Saxe-Altenburg, but in fact, this title was created for Friedrich Wilhelm's son, Johann Philipp, in 1602, when the Duchy of Saxe-Weimar was divided following the Duke's death. It was made around 1590, when Friedrich Wilhelm was about twenty years old. They were crafted by Anton Peffenhauser, a remarkable and highly sought-after master from Augsburg, who worked from approximately 1545 until his death in 1603. They were most likely decorated by master Jörg Sorhom the Younger. They are housed today in the Tower of London, which also houses a fine exhibition of ancient armor and weapons.
Friedrich Wilhelm's full-length armor. The left pauldron is traditionally larger than the right.
The same armor. Back view
Moreover, for specialists, the Peffenhauser armor that was decorated by the armor artist and engraver Jörg Sorgh the Younger is particularly significant. The armor of the Saxe-Weimar dynasty in the Royal Armory is believed to belong to this group. The Dukes of Saxe-Weimar, like the Electors of Saxony, were already significant aristocratic clients of Peffenhauser and Sorgh. There is, however, another Peffenhauser armor, housed in the Metropolitan Museum of Art, with decoration attributed to Sorgh, which was made for Friedrich Wilhelm's father, Johann Wilhelm, Duke of Saxe-Weimar-Altenburg.
Sorg's decorative skills were so highly valued that in 1559 there was even discussion of inviting him to work at the court of the King of Sweden. However, an agreement on a change of employment was never reached. He apparently maintained a close personal and professional relationship with Peffenhauser, although a family connection has not been established. On the other hand, Sorg collaborated closely with his maternal uncle, Desider Helmschmid, another prominent Augsburg gunsmith.
Helmschmidt's armour sets, crafted for Charles V and Philip II, were depicted in paintings by Titian and Rubens. The Sorgh family's artistic legacy is most clearly demonstrated in the Stuttgart Armorial, which was likely compiled between 1548 and 1563, when its representatives were particularly active in Augsburg. A surviving manuscript contains sketches of a number of suits of armour, which were supplied to aristocratic and royal clients throughout Western Europe, primarily in Germany, the Netherlands, and Spain.
A typical armé helmet with a small crest, a reinforced forehead guard, a hooked chinrest, and a visor. A plume tube is visible at the back.
Branding and decoration
Armor with a shield, which, by the way, is very similar to John Smythe's shield
Unfortunately, Friedrich Wilhelm, Duke of Saxe-Weimar, left in stories Friedrich Wilhelm left little trace of his duchy. His father, Johann Wilhelm, Duke of Saxe-Weimar, died in 1573, and it was not until 1586 that Friedrich Wilhelm was declared of age. In 1591, he became regent of the Electoral County of Saxony after the death of Christian I, a post he held until 1601 under the title of Administrator of the Electoral County of Saxony.
A surviving portrait depicts Friedrich Wilhelm in armor, and there is strong evidence to suggest he was interested in military and chivalric arts. During his regency, not only did the collection of arms and armor of the Electors of Saxony expand, but Friedrich Wilhelm's own library also acquired numerous military manuscripts. It is also believed that a 13th-century fencing manual was in his possession before later passing into the possession of the Dukes of Saxe-Gotha.
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