CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library U800 .D38 1894 An illustrated history of arms and armou 3 1Q9/I nrin 70e ggi Cornell University Library The original of tiiis book is in tile Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030736981 AEMS AND AEMOUB. AN ILLUSTRATED HISTORY OF AEMS AND AEMOUE FROM THE EARLIEST PERIOD TO THE PRESENT TIME. BY AUGUSTE DEMMIN. WITH NEARLY 2000 ILLUSTRATIONS. TRANSLATED BY C. C. BLACK, M.A.. ASSISTANT KEEPER, SOUTH KENSINGTON MUSEUM. * Quum prorepserunt primls anlmalia tenis, Mutum et turpe pecus, glandem atque cubilia propter Unguibus et pugnis, dein fastibus, atque ita porro Pugnabant armis quae post fabiicaverat csus." Horace, Sat. I. ui LONDON : GEORGE BELL & SONS, YORK ST., COVENT GARDEN, AND NEW YORK. 300 LONDON : REPRINTED FROM STEREOTYPE PLATES BY WM. CLOWES & SONS, LTD. STAMFOBD STREET AND CHARIKG CROSS. CONTENTS. Faox iKTBODUirnON 1 I. Aebibsed Histoby of Ancient Asms , . 17 IL ATiMS OP Pre-histokio Times, and oe the Stone Age. Arms ill chipped flint . . 75 Anns of polished flint ..... 80 III. Ancient Aems of the Bbonze and Ibon Ages. Indian arms in brouze and iron American arms Assyrian arms, etc. Egyptian arms Greek and Etruscan arms Eoman, Samnite, and Dacian arms 85 88 92 101 106 117 rV. Abms of the Bbonze Age of the so-oalled Babbabio Westeen Nations. Germanic arms in bronze . . . . .129 Kelto-Gallic, Grallic, and Lower-Britannio arms . 133 British arms in bronze . ... 136 Scandinavian arms in bronze 139 Bronze arms of various countries .... 144 V. Akms of the Ibon Age belonging to Noethbbn Nations. Germanic arms of the iron age . . 149 Scandinavian arms of the iron age . .158 Arms of the iron age of various nations . .159 VI Contents. Fagb VI. Aems or THE Cheistian Middle Ages, or the Renais- sance, AND OF THE SEVENTEENTH AND EIGHTEENTH CENTnKIES. Complete equipments of the Middle Ages . Complete equipments of the Eenaissance . Complete equipments of the seventeentli and eighteenth centuries ....... Description of suits of armour, excepting the helmet . Thehehnet . The shield . Coats and cuirasses The arm-guard The gauntlet Greaves and hose The spur Horse armour The saddle . The stirrup . The bridle , The sword . The dagger, poniard, etc. The lance, pike, and stake The mace The morgenstern or morning- star The flail The "war-scythe The scythe-knife The gisarme . The voulge . The war-hammer The war-hatchet The halbard . The ranseur . The partizan . The bayonet The spontoon The military fork Arms and utensils of war and chase Machines of war and siege weapons The sling and the staff sling . 161 197 218 222 239 287 309 328 331 337 342 349 355 361 366 369 400 414 420 422 424 427 428 430 433 435 438 443 445 446 448 451 452 454 455 466 Contents. vii Page VL Abus op the Ohbistian Middle Ages, etc. — continued. The blow-pipe . . .... 468 Bows and arrows 468 ThecTosB-bow 473 Vn. FiBB-ABMS. Heavy artillery .... The mortar .... The cannon . . , . Portable fire-arms . .... The hand cannon, hackbnss, arquebus, muskets, etc. The pistol 185 488 490 511 520 529 Accessories for fire-arms ... . 534 Vin. ThbAib-gtjn 537 IX. The Akt of the Abuotiber and Abqtizbusieb, — Moko- GBAiis, Initials, and Names of Abmohbebs. Monograms and names of Grerman armourers . . 540 German armourers of later years of the eighteenth and b^'nning of the nineteenth centuries, celebrated for their fire- aud air-guns . . 560 Monograms and names of Italian armourers . . 563 Monograms and names of Spanish and Portuguese armourers .... ... 565 Monograms and names of French armourers . 573 Monog;rams, initials, and names of English armourers . 574 Monograms and names of Swiss armourers . . 575 Monogiams and names of Flemish and Dutch armourers 576 Monograms, initials, marks, and names of armourers and towns found on Oriental arms Monograms and sdgnatuies the origin of which is unknown ...*... X. AbUB, CB068B8, ADS SlGKS OF THB FbEE JuDCES XL Advicb and Becbipts fob Colleotoes uf Abjis 576 577 578 .=583 A HISTOEY OF AEMS AND AEMOUE. INTEODCCTION. ALL that can interest the archseologist, the historian, the artist, the soldier, and even the ordinary observer, on the progressive march and the successive development of the arms of various nations in the past centuries, has been con- rlensed in the first chapter of this book in the "Abridged History of Ancient Arms," of which several extracts, more or less modified, are to be seen as headings to the sub- divisions, so as to spare the reader the trouble of looking through the whole history every time that he is desirous of information on only one point. It would have been useless to describe the historical development of each kind of arm, as these will be found in the different special chapters where these arms are described in chronologic order. This chronological system is found to be the best for a book which is destined to be at the same time a guide to the people at large, and a scientific encyclopaedia to collectors, tor such repetitions as must inevitably result will contribute to facilitate study. In addition to this a special chapter describes the pro- gressive march of the armourer's art, and gives all the iirmourers' signs and marks which it has been possible to collect; another chapter treats of the arms and alphabets which have been used in the tribunals of the free-judges (francs-juges). The whole work is divided into six principal parts, among which the most important treat of the arms of 2 Introduction. the middle ages, of tte Eenaissance, of the seventeenth and eighteenth centuries. The author, who has visited for years all the museums and arsenals of Europe, and the most important collections of amateurs, has thus been enabled to gather enough authentic materials to dispense with referring to any books of compilation. As to the kinds of arms which no longer exist, these have been studied in manuscripts, in miniatures, on coins of the period, and on ancient monuments, where sculpture has preserved forms, the exactitude of which can rarely be disputed. Notwithstanding the present decided taste for retrospec- tive knowledge, which has given birth to a perfect torrent of local and special treatises, as also to more important works, no complete work has as yet existed, either in France or elsewhere, on the subject of ancient armour. Nevertheless there are few things more indispensable to an artist than the knowledge which enables him, at first sight of a sword, a helmet, a shield, or any other piece of armour, to fix the nation and period to which its wearer belonged. The uncertainty on this head has given rise to many mistakes, which having rapidly become traditional have thus perpetuated lamentable historical errors. The faulty classi- fication of a large number of museums and arsenals has particularly contributed to the diffusion of these popular errors, which have by degrees crept into historical treatises ; the majority of guide-books, sculptures, and mural paintings have actually transformed our galleries of painting and sculpture into public schools for instruction in anachro nisms. Several of these collections of armour exhibit specimens, the alleged dates of which are centuries earlier than the true ones. It is more particularly in the Swiss museums and arsenals that these errors abound. There we find a large number of swords ascribed to the time of Charles the Bold, the shape of which declares immediately the end of the sixteenth and even the beginning of the seventeenth century, as also some armour of the same date, said to have been worn at the battle of Sempach. The gjrmnasium of Morat exhibits war-harness of the seventeenth century, as " taken from the Burgimdians kiUed in the battle," where under the walls of the city the terrible duke lost, in 1476, his military Introduction. 3 honour, after having lost at Granson all his treasures. Another suit of armour, whose burgonet, with its shade and ear-pieces, the lobster-tailed cuishes, and the breastplate, all equally announce the seventeenth century, has been attributed to Aiian of Bubenberg, the valiant chief of the fifteen hundred Bernese who defended Morat for ten days against the artillery of the archduke. In the arsenal of Soleure the blunders are stUl greater. All the personages of the celebrated group, which is composed after a design of Disteli, and is meant to represent the recon- ciliation of the confederates at the Diet of Stanz, in 1487, by the intercession of the venerable Mcolaus Von der Vine, are clad in armour of the sixteenth and seventeenth centuries. The famous iron shield of modern fabrication, attributed to Philip the Good (1419), in spite of the round targets with which the inights in relief are armed, has been engraved in a Swiss publication, and accompanied by a learned disserta- tion. This object, and also a French cuirassier's breastplate of the First Empire, in which an unskilful armourer has awkwardly hammered out two receptacles for a female bust, still figure there as precious relics of the middle ages, a fact at which the merchant who sold them to the arsenal, and who is still living at Soleure, no doubt enjoys many a hearty laugh in his sleeve. In the arsenal of Zurich all the bossed breastplates of fluted armour are rated as cuirasses for women, as though the female bosom occupied the lower portion of the chest! In England even, a country famed for its archseological researches, the armoury of the Tower of London had preserved a large quantity of fantastic attributions until Mr. John Hewett had showed their faultiness in a descrip- tive catalogue. In the classification of this museum, and likewise in the drawing-up the catalogue of his own celebrated collection. Dr. Meyrick, who has long been considered pro- foundly learned on the subject of ancient armour, has some- times erroneously attributed dates whose errors have to be measured by centuries. At the armoury of Madrid will be found such gross errors as the assigned dates differing by more than four and even five hundred years from the leal ones, and these monstrous blunders axe reprinted in 4 Introduction. the texts which accompany published representations of the arms. Even in learned Germany these errors are not less frequent. The collection of Ambras at Vienna, for which Sclienk, of Notzing, had published, in 1601, a description in Latin, afterwards translated into German by Engelbertus Moyse van Campenhouten, and illustrated by numerous engravings, each one more fantastic than another, exhibits at this moment a suit of armour of the end of the sixteenth century, which is attributed in the museum to the Eoman King Eobert, who died in 1410. In the armoury of the same city the observer may have the satisfaction of seeing a fight between lay figures attired in armour of the beginning of the seventeenth century, which are shown to him as " Germans fighting against Romans ;" and similarly he may admire at the Dresden Museum a suit of armour and a helmet of the seventeenth century attributed to Edward IV. of England, who had nevertheless ceased to reign in 1483. There was also to be seen at the national museum of Bavaria at Munich, before M. de Hefner Alteneck had been named director of it, a collar of a buff coat, of the time of the Thirty Years' War, attached as a shoulder-piece to the much-valued doublet with cuishes and hose of the fourteenth century. The museum of Cassel also shows among ancient armour a morion and a small helmet, which are certainly much rusted, but which belonged to ancient troopers of the seventeenth century. In the national museum of Brunswick there is a similar morion, which, as being exceedingly rusty, has been labelled "twelfth century." A great number of these mistakes made by French and Italian museums might be quoted, but we may as well refrain. All these anachronisms have been carried on into books. There may be seen in a small illustrated treatise, published recently at Paris (headed, Armes et Armures, par Lacombe, Hachette, 1868), a suit of armour of the end of the reign of Henri IV., who died in 1610, labelled as armour of Charles the Bold, who died in 1477, where the small helmet figures under the name of morion, the large bassineted helmet of the fourteenth century is called a "mezail," a word which signifies the defensive armour worn only over the eye and forehead, the " francisque " is called a defensive weapon, the long pistol of the seventeenth century a petronel, the halbard a partisan, Introduction. 5 the gisarme a fauchard, the spontoon and partisan hil- barde, &c. The desire of exhibiting " historical " curiosities has tempted many museums to accept and even to construct for their objects, genealogies and titles, which, being afSrmed by tradition, have at last become gospel truths to the keepers, and to the crowd among whom these gigantic errors are circulated and preserved. When will the world begin to see that a beautiful specimen of sculpture, painting, chasing, or of any other artistic work, needs no other title than that which the critic finds in its execution, and in the style of its epoch, shown by the archaeological imprint, now faded away with Gothic art, and whose stamp is not to be found in the works either of the ancients or of their imitators? Titles so often conjecturally, and falsely, ascribed serve but to throw discredit as much on the collector as on the keeper. The errors which are so frequent in the chronological classification, and in the histories ascribed to armour, are even more numerous as regards their nationality and manufacture. Many armourers without merit, and whose existence must have equalled that of Methuselah in order to produce only the half of what is attributed to them, are extolled to the detriment of really great artists, whose masterpieces figure under the name of some favourite work- man, too often extolled with an idolatrous faith, discreditable to men whose real duty is to plant landmarks to histories based upon substantial evidences which happily are beyond the reach of mutilation. It is a sad thing to say, that though archseological in- vestigators in vain turn over the dust of centuries and pass their lives in pointing out, with evidence in their hands, all these involuntary errors, these childish jugglings, the band of compilers continue to manufacture books out of old books, copying afresh that which has already been copied without examination, and so going on from father to son, writing about subjects with which they are acquainted only through books. As in museums of keramic ware and mosaics, the pro- ductions of Italian art are generally most numerous, and those of France in collections of enamelling on metals and of sumptuous pieces of furniture, so the museums of ancient 6 Introduction. armour are everywhere filled, for the most part, with German work. There is no country where the art of armoury was so widely spread as in Germany, nor brought to such a pitch of excellence, in the manufacture of plate armour, the laminated joints of which covered even the legs of the war-horse. Her numerous towns and princely residences, as well as the greater part of the free cities, have fvirnished during the middle ages and Eenaissance a wide field for the artist to display great beauty in the gorgeous armour and arms of that period ; the precious work of which was often paid to him at its weight in gold, by simple patricians, who, like Fugger and others, were rich merchants, and at that time handled the sword as well as the clothyard, or the money bag. Notwithstanding the monograms with which the handsome arquebuses, swords, helmets, and breastplates are marked, and notwithstanding the design of the figures and ornaments which indicate a German school of art, the greater part of these arms continues to figure in catalogues and treatises as productions of Italian art. As if Italy, the country of such men as Antonio Picinino, Andrea di Perrara, Ventura Cani, Lazarino Caminazzi, Colombo, Badile, Franoino, Mutto, Berselli, Benisolo, Giocatane, and many other celebrated armourers, needed a fictitious reputation, and required to be decorated with borrowed plumes. It will be seen in the chapter which treats " of the armourer's art," that the Editors of these treatises are but slightly acquainted with art criticisms and recent archfeolo- gical discoveries ; for to them, armours made for the kings of France, at Munich and Augsburg, still remain Italian, and similarly the armour made by such men as Peter Pah, Wulff, Kolmann, and Peter (Pedro), of these same cities, is still counted as Spanish. They persist in ignoring the fact that Seusenhofer of Innsbruck was charged with the forging of the armour of the sons of Francis the First, a magnificent undertaking, which nevertheless retains an Italian label. Even in Germany the depreciation of national art has insinuated itself into public collections, for when the author of this book, not ten years ago, had recognised at the Dresden Museum, in several fine pieces of armour, ascribed to Italian artists, incontestable proofs of German workmanship, he met Introduction. 7 with no reply but skrugs and incredulous emiles. At present his statement is no longer contradicted, and it is well known that many of these pieces of armour are the work of the celebrated Kellermann of Augsburg, who for one single suit of armour was paid fourteen thousand dollars. The cele- brated piece of armour ornamented with embossed (repousse) figiures representing the labours of Hercules, in the museum of Dresden, is likewise Gferman. When the armour of Senri II., at the Louvre, is compared with the designs composed for the studios of Munich, by the painters Schwarz, Van Achen, Brockbergen and Jean Milich, which are preserved in the Cabinet of Engravings, in this city, it will be seen (as also on the buckler of the Ambras coHection, the counterfeit of which is in France) that its exe- cution has been scrupulously based upon these models, which have been photographed and published by M. de Hefner Alteneck, who discovered them in the cabinet of engravings at Munich. It is particularly Pl. xvii. which gives us the most striking proof. To have an idea of what the German armourers were able to do in the fifteenth and sixteenth centuries, the reader should visit the Imperial Arsenal, and the Ambras collection at Vienna. The niello-work and incrustation in gold and silver (Taucher-arbeiten, in German) are of a massiveness that leaves far behind similar works of Spain ; and the hammered work is equal to that of Italy. As to the forms of the armour, they are always graceful and noble. Fire arms even more than side arms and plate armour owe their perfection to the German armourers, who invented the air-gun in 1560 ; the rifled barrel (called in German Biichsenlauf) in 1440, or according to others, in 1500 ; the wheel-lock in 1515 ; the arquebuse in 1551 ; the double trigger (Stecher in German) in 1543 ; the iron ramrod (the use of which contributed to the Prussian victory at Mollwitz) in 1730, and lastly, in 1827, the famed needle-gun. As the archreological and special character of the matter treated of in this book might easily lead to useless digressions and to the use of technicaKties which are too often employed to hide the absence of real knowledge and well-digested study, notes of reference have been entirely dispensed with in the Historical Chapter, and names which every one can 8 Introduction. ■understand, printed in French, German and Englisli, are employed for the designation of the objects spoken of in the work. The author nevertheless could not refrain from exaotly quoting the sources, whether monuments, manuscripts, or armour, from which he has derived his knowledge, so as to afford means of criticism, as well as of information for this sisecial study. As soon as the French edition leaves the press, translai- tions in English and in German will be published in London and Leipsic by Messrs. Bell and Daldy, and Mons. E. A. Semann respectively. Before beginning the work itself, it will be useful to pass- in review the more important collections of armour, so as to- enable the reader to judge by their formation in what chrono- logical order the taste for ancient armour has developed itself in Europe since the Eenaissance. The first gathering together of arms and armour as a collection, and not for ordinary use, does not appear to date earlier than the sixteenth or end of the fifteenth century. It will be seen by the catalogue published by M. Leroux de Lancy in 1848, in the Library of Charts, that Louis XII. had formed, in 1502, a cabinet of arms at Amboise. The celebrated museum of historical armour at Dresden, one of the finest in Europe, owes its origin to Henry the Pious. Augustus I., who was a collector of armour during thirty- three years (from 1553 to 1586), is nevertheless the real founder of the present museum, which contains upwards of sixty thousand pieces, and is especially rich in swords, but few of the pieces of armour and arms date farther back than the end of the fifteenth century. The Marshal Strozzi, who died in 1558, left a cabinet of armour of which Brantome speaks very fully : " If the Marshal Strozzi was tasteful in fine books he was equally so in armour, and in arms, for he had a large hall and two rooms, which I had seen in past days in Borne, in his palace in the Borgo ; and his arms were of all sorts, as much for horse as for foot-soldiers, and of all countries, French, Spanish, Italian, German, Hungarian and Bohemian, and briefly, of several other Christian nations, and also armour belonging to Turks, Moors, Arabs and savagp nations. But what was most beautiful to behold were the Introduction. i> arms in antique fashion, of the old Eoman soldiers and legionaries. All this was so beautiful that one knew not which to admire most, the armour itself, or the curiosity of the person who had placed it there. And to complete the whole, there was a separate chamber filled with all sorts of engines of war, of machines, ladders, bridges, fortifications, and ingenious artifices and instruments ; ia short, of all inventions for offensive and defensive warfare, the whole formed and imitated in wood so cleverly and truly, that any one had only to take the pattern in full size, and use it at need. I have since seen all these cabinets at Lyons, whither the last M. Strozzi, his son, had transferred them, and also saw that they were not kept so carefully as they had been at Eome. I noticed that they were confused and spoiled, at which I mourned in my heart ; it is a very great pity, for they were very valuable, and a king could not have done better than buy them, but M. Strozzi disordered and sold everything ; this I therefore represented to him one day, for he would take a hundred crowns for a thing which was worth more than a thousand. Among the other rare things which I noticed was a shield made from the entire shell of a turtle, so large that it would have covered the tallest man from head to foot, and so hard that an arquebuse would have pierced it with difficulty from a distance, and yet withal, it was but slightly heavy. There were also the tails of two marine horses, the handsomest, longest, thickest and whitest that I have ever seen. I may possibly have been too long and tedious in speaking of this cabinet of arms, but certainly had I wished to amuse myself in telling over its curiosities, all would have taken pleasure in reading them." The fine Ambras collection, now in Vienna at the Belvedere, composed only of choice pieces, was commenced in 1570, by the Archduke Ferdinand, Count of Tyrol (son of the Emperor Ferdinand I., and husband of the beautiful Philippine Welser of Augsburg), in his castle of Ambras, near the town of Innsbruck, where the prince had collected a hundred and fifty complete suits of armour, and a large number of offensive and defensive arms, and war harness. A cabinet of curiosities and art-objects, of which the greater number are now in the Armoury at Vienna, and only a small part still remains at Ambras; more than nine hundred historical portraits, of 10 Introduction. small artistic merit, it is true ; a collection of two thousand five hundred medals and coins, and several thousand engrav- ings ; a library of four thousand printed volumes and five hundred manuscripts, among vehich may still he seen the three celebrated volumes of water-colour drawings, executed by Glockenthon, containing the exact fac-similes of the arms and armour of the three arsenals of the Emperor Maximilian — all these at that time formed a whole, which few cities cotild eijual. The main body of this collection. Which had lost only ten handsome suits of armour, carried off by the Trench army, was transferred to Vienna in 1806. The first work containing representations and descriptions of these treasures was published in the seventeenth century in Latin, by Jacob Schrenk of Notzing, a slight work, which has nevertheless been translated into German by Engelbertus Moyse de Compenhouten. M. le Baron de Sacken has published another work, in 1862, in which the best pieces of the collection have been reproduced by means of photography. Vienna also possesses the celebrated collection of the emperor at the Arsenal of Artillery, and that of the " Arsenal of the City." The Arsenal of Imperial Artillery at Vienna is an immense pile of buildings close to the terminus of the Southern railway, aud contains one of the richest collections of armour in Europe, derived from the private cabinets belonging to the empeiois of Austria. Placed in a building which is one of the most successful and beautiful of our time (the work of the Couu-, eellor Hansen), this collection contains more than seven hundred specimens ; it is at present under the superintendence of Captain Querin Leitner, who has classified it perfectly, and who is engaged on a publication (Waffensammlung des osterreichischen Kaiserhauses im Artillerie Arsenal ; Vienna, 1868) intended to furnish reproductions of the most remark- able pieces of armour in the musemn, which will contribute to diffuse a taste for ancient armour. The arsenal of the city of Vienna, which dates from the ■end of the fifteenth century, and whose construction, though worse than insignificant, was erected about 1732, contains but little good armour, yet has forty large shields or " Setz- schilde " of the end of the fifteenth century, and a large quan- tity of cut-and-thrust weapons. Introduction. 11 There may also be seen the head of the Grand Vizir Mustafa, the cruel monster to whom the sultan sent the bow- string, in 1684, after his defeat beneath the walls of Vienna. The best suits of armour of this museum, where there is a complete absence of classification, and a large number of objects ridiculously misnamed, are shockingly bedaubed with black paint. The first mention of a collection of armour in the Tower of London is to be found in an inventory of 1547, and in an order of 1578. Paul Hentzner, a German traveller, also speaks, in 1598, of the fine armours of the Tower of London, though at that time they were rather an arsenal than a gallery. In 1630, the real nucleus of the collection was commenced at Greenwich, and with what remained from the piQages of the civil wars, towards the end of the seventeenth century, the actual gallery, whose classification Dr. Meyrick afterwards directed, was formed. Since 1820, the collection has been augmented by different purchases. The fire of 1841 deprived them only of a few cannons, which were completely destroyed. There is no keeper; nevertheless Mr. John Hewett, an archaeologist, has been able to publish an official catalogue of the arsenal, divided into twenty classes, in which thirteen objects represent ancient armour, forty stand for the stone age, a hundred and twenty for the age of bronze, and twenty- five for that of iron. The arms, beginning from the com- mencement of the middle ages down to our own times, number about five thousand seven hundred. The whole collection, therefore, comprises more than five thousand eight hundred objects, the oriental division of which is remarkably well represented. In addition to the collection of the Tower of London we must also mention the celebrated Llewellyn Meyrick collection at Goodrich Court, in Herefordshire, one of the most perfect in Europe. The arsenal of Berlin, which contains a small quantity of armour belonging to the Electors, is not rich in either ancient armour or arms, and is principally composed of guns, both with flint-locks and with pistons, and of trophies taken in the wars which Prussia has sustained; it is placed in the building to which the masks of Schluter have given an European celebrity. There is also at Berlin, in the Monbijou Palace, a certain amount of historical armour and arms, as 12 Introduction. well as the handsome collection of Prince Charles of Prussia, a thing of worth which unfortunately lacks space enough to be properly exhibited and classed chronologically. The commencement of the Museum of Artillery at Paris dates from 1788. A collection of armour and machinery had been commenced, which was pillaged on the 14th of July, 1789. In 1795, this museum was rearranged in the convent of the Dominican Jacobins of St. Thomas Aquinas ; in 1799 it was enriched by the celebrated collection of the arsenal of Strasbourg, and in 1804, by the gallery which the Dukes of Bouillon had already formed at Sedan. The museum was again pillaged in 1830, but lost only a few of its treasures, the greater part of which were brought back after the days of July. In 1852, twenty of the richest and most curious objects were transferred from the Museum of Artillery to be placed in that of the Sovereigns at the Louvre, a loss which was in part repaired by an imperial decree, which presented to the Museum of Artillery the valuable arms belonging to the library of the Eue de Eichelieu. Since then many gifts have been made to this beautiful collection, conspicuous among which are those made by Napoleon III. and the Baron des Mazis. At present it is the richest and one of the best organised of collections ; for its excellent classification, which is due to the knowledge of the keeper, M. Penguilly THaridon, leaves but little to be desired. There are fifty objects for the weapons of the flint age, a hundred and fifty for those of the bronze age and for ancient armour, thirty for the iron age, nineteen hundred and seventy for the armour and weapons of the middle ages, the Eenaissance, and the seventeenth and eighteenth centuries, three thousand for oriental and modern weapons, cannon, machines, and divers other objects, com- prising in all five thousand and two hundred numbers cata- logued with much care. Another old and important collection of weapons and armour belongs to the Counts of Erbach, at Erbach Castle^ in Hesse-Darmstadt, near Oppenheim. It was begun at the end of the eighteenth and beginning of the nineteenth century, by the Count Francis, an enthusiastic collector. The museum contains four hundred and sixty offensive and defensive weapons, six hundred and twenty fire-arms, and a few himdred weapons of the flint, bronze, and iron ages, classic. Introduction. 13 Keltic, German, &c. The Count Eberhard, grandson of the founder, has himself drawn up the catalogue. The Armeria at Turin was founded by the King Charles Albert, in 1833. The Coimt Vittorio Seyssel of Ais pub- lished in 1840 the catalogue, which contains fifteen hundred and fifty-four specimens of ancient and modern weapons, among which are a great number of defensive arms, both rare and artistic. The museum of Sigmaringen is, like those of Munich and Turin, a modem creation, for the first gathering together of art objects dates no farther back than the year 1842. In the " Artistic Guide for Germany," by the present writer, will be found an especial chapter, which gives summarily a descrip- tion of the numerous collections which H.E.H. the Prince of Hohenzollern has brought together in his residence, and which have also been largely augmented by the recent purchase of the collection of the Baron of Mayenfisch, super- intendent of fine arts to the prince. The Counsellor Dr. Lehner is keeper and librarian, and has been entrusted with the chronological arrangement of the catalogue, in different series, and with publishing fao-similes of the most remarkable objects by means of photography. The collection of weapons and armoux numbers more than three thousand pieces, among which are some exceedingly valuable in an historic and artistic point of view. The building, which the prince has had erected in the Anglo-Gothic style, is designed by Kruger of Dvisseldorf, and is graceful in form and worthy of its contents. The fresco paintings, by Professor Muller of Diisseldorf, are a work of art, which wUl in themselves repay a journey to Sigmaringen, a place where the traveller may find museums of every kind, with two exceptions, natural history and natural philosophy. M. Hefner-Alteneck has also published a work on these museums, in which we recognise the habitual exactness of this carefol describer. The national museum of Bavaria, at this time one of the richest in art-objects of the Gothic and Eenaissance styles, originated in 1853, in the reign of King Maximilian II. It occupies fifty-nine halls of a vast building, three stories high. It is to the energetic activity of the late Baron Aretin, and to the solid knowledge of the director, M. de Hefner-Alteneck, 14 Introduction. that Germany owes the rapid collection of so many treasures, among which may be counted more than a thousand weapons and pieces of ancient armour. The construction of the build- ding is defective in all respects, and the classification of the contents faulty. Happily the new director is engaged in rendering the classification more available for study by a chronologic and generic catalogue. The large number and, for the most part, the historic and artistic value of the objects exhibited, place the National Museum of Bavaria among the first of these instructive establishments. We also find at Munich a collection of ancient arms, in the arsenal of the city ; these are objects which have belonged to the different corporations, dating as far back as the four- teenth century. But the organisation of this collection dates only from 1866. All is arranged there in chronological order so as to show the armour worn by the lower orders, grouped together in their different epochs, the last of which comes down to the end of the Thirty Tears' War. The arsenal of the city of Munich, of which the keeper, M. Kaspar Braun, has published, in 1866, a descriptive catalogue, con- tains in all about fourteen hundred ancient weapons and pieces of armour, both for the horse and rider. The King of Sweden, Charles XV., has also commenced a cabinet of ancient armour, composed for the most part of the Soldinska collection from Nuremberg, brought thence about 1856. It comprises more than a thousand specimens, among which will be found a great many oriental weapons, and a large number of western arms of the sixteenth and seventeenth centuries. A series of fac-similes of this beau- tiful coUeotion has been published by Lahure, at Paris. The cabinet of armour of the Emperor Napoleon III., commenced only a few years back, and which is placed in the castle of Pierrefonds, is already one of the richest in the empire, especially so in fine German tilting armour of the best periods. According to the catalogue published by M. 0. Penguilly I'Haridon, it contains five hundred and twenty-five ancient weapons and suits of armour, and four machines for ancient warfare, of which the two balistEe, erroneously called catapults, and intended to shoot arrows, are constructed after the designs of Hiero and Philo, two Greek authors, contemporaneous with the successors of Introduction. 15 Alexander and Vitruvius, which last are supposed to have lived in the reign of Augustus. The other two are catapults of the kind oallei palintones, also constructed after the designs of Hiero. These four machines of warfare have been taken, some years since, to the Museum of St. Germain. Some photographic representations, by Chevalier, have been published by Olaye, in 1867, but are not sold to the public. Another fine collection of armour and weapons but recently begun, is that of the Senator Count of Nieuwerkerke, placed in the apartments which he occupies at the Louvre. This cabinet, entirely formed of choice pieces, contains more than three hundred and thirty specimens, of which M. de Beaumont is forming a catalogue, to be illustrated with copperplate engravings. We may also point out in France the museum of Chartres, which possesses a good collection of ancient weapons ; among other things the war-harness attributed to Philip IV., le Bel (1285 to 1314), where the bassinet alone indicates the date, for the coat of mail, of which a portion is modern, belongs to many different periods. For the study of weapons in flint and bronze, of primitive and ancient times, the museums of Mayence, Copenhagen, Schwerin, Sigmaringen, Saint Germain, and Christy's Ethmo- graphic collection at London, ai'e those which offer the greatest amount of resources. All travellers know the museums of armour at Madrid, and of Tzarskoe-Selo at St. Petersburg; reproductions of the most remarkable objects have been published in photo- graphs and lithographs, but no one has given any information regarding these museums, nor of those of Venice and Malta. As for the arsenals of the Swiss Cantons, which, though they date back as far as the earliest wars, contain few things anterior to the end of the fifteenth century, there are but those of Geneva, Soleure, Lucerne, and Berne, which possess what can be called a collection of ancient weapons ; Morat, Zurich, Basle, and Liesthal are less richly gifted, and the other chief towns of the Cantons have hardly anything re- maining of their armour or weapons of offence. Holland does not possess a museum of ancient arms, nor has she any in her arsenals ; private collections are rare ; we know of none but that of the Baron de Bogaert van ] 6 Introduction. Heeswyk, in Lis coimtry-liouse near Bois-le-Duc, and that of the late M. Kruseman, a painter, which now belongs to the Archseological Society of Amsterdam. The collection of ancient arms at Brussels is somewhat extensive, and is placed in the museum of the " Porte de HaU." Besides the first-class museums which we have here cited, there are still a large number of important collections, most of which are mentioned along with the engravings from them in the body of this work, and if we count the galleries in process of formation, we must admit that the taste for armour nearly equals that which has been so universally shown for keramic ware. 17 ABRIDGED HISTOEY OF ANCIENT ARMS. IN all countries, and as nmch among primitive tribes as among ci-vilised nations, the question of weapons has been one of great importance. From the beginning, man, exposed on the earth without means of defence, must have been forced to invent methods of repelling the attacks of those creatures who were with him joint proprietors of the soil, and to whom Nature, in depriving them of reason, had given as compensation natural weapons. Hence, weapons, originally invented for destructive purposes, have become the most powerful means of civilisation ; the improvement of these deadly instruments has constantly supplied deficiency of numbers, and finally secured the triumph of reason ; for, in modem times, the most ambitious of conquerors contributes to civilisation, since he is always followed by the pioneers of intellectual and mechanical culture. Gunpowder has, in all probability, opened the road to printing, has lessened the stoppages and smoothed the road of progress by supplying strength to disciplined minorities arrayed against bar- barous masses. Mind has found means of resisting and subduing brute force. If we deplore warfare, we must not regret the ever increasing perfection of weapons, which, though making warfare more deadly at a given time, yet by shortening renders it eventually less fatal to mankind. Even among the most backward in civilisation, the im- provement of weapons can have nothing injurious to the progressive march of society, since all progress is mutually advantageous ; and as soon as intellectual culture gains ground, no matter in what branch, the chances of unjust war, and dread of the reign of brute force, diminish. Of the earliest known civilisations — those of India and America — the latter, though lost and almost ignored, has left the most ancient trace of a defensive weapon, perfected 18 Abridged Kistory in its form. This is tlie helmet worn by a figure on a bas- relief, in Palanque, in the ruins of the city Culhuacan, whose date may possibly reach back three thousand five hundred years, and the circumference of which measures over eighteen mUee. To obtain an exact account of the progressive march in the construction of weapons among different nations, and of the transitions and combinations which are to be seen in the forms of these products, they should be divided into four distinct heads : weapons of prcvhistoric times, of the age of stone, rough, chipped, and polished; weapons of the age of bronze — a category in which are comprehended the manu- factures of the ancients as well as those of the Scandinavians, Germans, Britons, Kelts, Gauls, and others; the early weapons of the age of iron, which includes the Merovingian times and the reigns of a few of the Carlovingian kings, that is to say, the end of ancient times and the beginning of the middle ages ; and, lastly, the weapons of the middle ages, the Eenaissance, and the seventeenth and eighteenth cen- turies. The use of the words, " an age of bronze," does not infer that iron was unknown at this period ; it indicates only that the use of this metal was not widely spread, and that nearly all tools, and all weapons, even edged ones, were among most nations made of bronze. Ingots of iron, wedge or pick- shaped, and a few other objects in forged iron preserved in the Assyrian museum at the Louvre, and also a fragment of an Assyrian coat of maU in steel, in the British Museum, are proofs that in the tenth century before Christ the Assyrians were as well acquainted with this metal as the Egyptians. Thirty passages in the Iliad and the Odyssey, where iron is often spoken of, under the epithet of" difficult to work in," show that the Greeks were likewise acquainted with it. Bronze, on the contrary, which is a mixture of metals (called erroneously in Grimm's dictionary " messing," brass), has nothing in Nature exactly corresponding to it ; it is a composition formed by man, and which varies according to the country and 'the time ; sometimes, for instance, it is copper and tin, sometimes copper, tin, lead, spis-glas, &c., and requires the knowledge of a mixed fusion of metals; for while pure copper can be worked with the hammer only, of Ancient Arms. 19 bronze must be submitted to the action of melting. The preparation of iron- only needs a high degree of oxygenal h^t and. its separation from carbon to become malleable — a fact known even to the Kaffirs, who employ bellows to send oxygen through their fiirnaces. The use of bronze, instead of ^preceding, must necessarily have followed the use of iron, as. the latter metal might be worked without being completely Earth, wood, stone, and the skins of animals, which can be fouiid aver aU the earth, must of necessity have been the first materials- which loan employed in -the manufacture of his utensils and weapons. The use of stones for the manu- facture of the latter dates back everywhere to the infancy of all nations, and it is these rude creations alone Tvhich still compose the arms of the savage. There are even some coun- tries, where, notwithstanding that tte preparation and employ- ment of metals for other uses was known, the inhabitants still continued to make use of stone only for the manufacture of offensive weapons. Such was the case in America anterior to its final discovery by Columbus. Flint, chalcedony, ser- pentine, and particularly the fragile black obsidian, in which the ancient mirrors of the Incas were cut, were all in request for the heads of lances, and arrows, and blades of swords, for ■war-hatchets and knives : copper and bronze were used only for tlie making of tools. In:Europe stone weapons are found of vory great antiquity, and they serve to show that man must have existed during the third geological period ; a fact of which the picture of the mastodon or mammoth engraved on a deer's antler found in Perigord, as also the numerous bones of the cave-deer, scattered among flint hatchets, ■which have been gathered in platonic strata, have furnished additional proof. When these rough sketches shall have been examined under the microscope, so as to obviate the possibility of deception, it will then be time enough to discuss the hypothesis. It is not enough, though, that these bones and weapons should have been found in alluvial-diluvial districts, for these might have been subjected to disturbance — a fact which is indeed demonstrated by the " movable deposits," so called because composed of objects belonging to different epochs. The diluvium fAlpin) contains no organic matter in the state of 20 Abridged History ossine, a substance whioh characterizes bone not fossilized : lience it results that any alluvial deposit containing even the smallest bone with ossine must be posterior to that great terrestrial perturbation designated as the deluge. A great many tools and weapons in worked stone are also a sure sign that they do not date further back than the deluge, as they are made out of pebbles, and everything tends to show that these must have been rolled together before being shaped by man's art. It is impossible to assert the priority of one people over another respecting the first manufacture of these weapons, as they are to be found everywhere. Some weapons have been found in France of flint, chipped by splintering, mixed with bones of reindeer, and fossil bones, both occasionally carved by the hand of man, and used as handles for the flint, which is always the cutting instrument, and whose manufacture, without the aid of metals or corrosive acids, can be explained only by the comparative ease with which flint, freshly quarried, and before undergoing the influence of the outward air, can be chipped and splintered. Lines of demarcation between the so-called ages of rough stone, worked stone, and even of bronze, can be drawn only with that small amount of certainty which belongs to epochs partly or wholly pre-historic. Objects of two, and even of all three epochs, have been found intermingled — a fact which indicates a transition state. The researches made in the ancient German cemetery of Hallstatt, near Ischl in Austria, have brought to light instruments in stone, bronze, and iron, and even some half bronze and half iron, the whole at times mingled in a single tomb, of which more than a thousand have been visited. The kitchen refuse heaps {KioTikenmoedr ing — Kitchen midden) of Denmark, as well as the objects found in the lacustrine habitations of Switzerland, Savoy, and the Duchy of Baden, though all found in alluvial soil, may nevertheless be attributed with certainty to the pure flint age, when no weapons or utensils showed any trace of metal, while the lake dwellings found near Noceto, Castiana, and Peschiera belong to the epoch known as the age of bronze. Of all these primitive weapons those found in Denmark (at present coimterfeited in Germany) show the greatest of Ancient Arms. 21 amount of finish ; curiously enough, they appear to indicate that at these epochs civilisation was more advanced in the north than in the central parts of Europe. We must, never- theless, remember that these arms have been found in alluvial deposits, and must necessarily be more modem than those found in the caverns or in diluvial and quaternary strata. As for the weapons in polished stone, these are most fre- quently of granitic serpentine, not a hard stone, though more so than ordinary serpentine. They have also been found in flint, in chalcedony, basalt, jade and jadaic stone of different colours. The jade-like stone, so common in Auvergne, is of the same kind as that which was formerly employed to make amulets against spinal complaints, whence it took the name of nephritic stone. The talismans or stones of victory of the Scandinavian Sagas were probably nothing more than serpentine. Some wedges have been found too small for any other use, which must have been worn round the neck as a talisman, as is shown by the hole through which the string was passed. In the north these stones are always green, a colour which appears to be much liked and considered sym- bolical by the Teutonic races, for it predominated largely at a later period in their enamels and miniatures, whUe blue takes the principal place in works of Gaulish and Frankish origin. The nations in remote antiquity appear to have used stone weapons simultaneously with iron and bronze ones, as the museums of London and Berlin possess several very ancient examples of Assyrian and Egyptian origin in these materials. Bronze weapons have been discovered in the north as frequently as on classic soU. They may have been intro- duced in the west by victorious oriental races, as the weapons of the so-called age of bronze of the different countries re- semble each other more than those of other periods ; and in the Scandinavian Sagas we find the conquerors treating dis- dainfully the people still content with flint weapons, and calling them "little demons of the earth." The use of bronze weapons had not yet ceased completely among the Gauls after the conquest of Csesar, and it may be admitted that the superiority of iron weapons contributed to the success of the Pranks, as it had done to that of the Eomans. If one wishes to become apt in the knowledge of classifying 22 Abridged History ciironologically the weapons of these periods, which so much resemble one. another, and in-.whieh transition states are.' sd frequent, the construction of the different tombs^ should; b©^ studied. The high hillocks > surrounded or surmounted b|: stones, more or less colossal (and called dolmens), and whostf- interiors, closed with slabs of stone, contain bones unburnt,' and flint weapons, may be considered as very ancient ioiabs. The second category of tombs is most commonly recognisable by a smaller hillock, and by the absence of large blocks of stone, by a vault or tomb formed of unhewn stones of small size, and heaped together without much skill, aid by the urn, which indicates a burnt corpse. These tombs generally, contain objects in bronze. Tombs still less eleyated, ' and- constructed almost wholly of earth,. belong to the third stage,- in which the burning of bodies had again given way to rtheir burial, and where the tombs often form cemeteries, ranging from south to north. While engaged on the subject of ancient weapons, we must especially seek for the first traces which have reached us on Hindoo, Assyrian, and Egyptian monuments. From the foundation of the cities of Nineveh and Babylon: by Assur and Nimrod, in the twenty-fifth century b.o., until the third century B.O., in the reign of Sardaiiapalus V., there are no monuments from which the slightest notion can be gathered of the arms of a soldier under the five great Asiatic monarchies. We are equally ignorant of the equipment of the armies with which Belus conquered the Arabs in B.C. 1992, and Ninus, his son, subdued Armenia, Media and nearly the whole of Northern Asia ; nor does anything in- dicate to us in what manner were constructed the brilliant weapons in use under the gorgeous Semiramis, the widow of Ninus, who, from b.Oj 1968 to 1916, extended her empire as far as the Indus, and accumulated fabulous treasures at Babylon. From the reign of Ninyas, her son, history fur- nishes absolutely nothing respecttQg the long line of hi& successors, save a few tales about the well-known Sardanapalus,' who w»s dethroned in 759. The Chaldasan, Babylonian, Assyrian, Median, and Persian bas-reliefs and casts in the British Museum, and in those of Berlin, Munich, and Zurich, are useful supplements to written documents, and furnish ample materials for the history of of Ancienit Arms. 23 the armament of these military monarchies, from, the thirteenth to the seventh century B.C., for, in contradistinc- tion to all Hindoo and Egyptian monuments, the subjects of these sculptures, which are nearly all provided with cimei- form inscriptions, offer for the most part warlike episodes, and show us the entire armament of the soldier duriiig seven centuries. In this interval military eqtiipment appears to have changed but little, and the valuable evidence of Sennacherib (b.c. 712 — 707) informs us that the Chaldsean soldier was armed like his Assyrian contemporary. The infantry soldier of the regular troops wore for defen- sive armour the helmet with chin-strap, sometimes orna- mented with a crest of horsehair ; a round buckler, and for sieges, a long pavois, a cuirass, or, more properly, corselet, made with plates of inetal sewed on to woven stuffs or skins, and also real coats of mail in steel, such as the fragment in the British Museum shows, or sometimes a long tunic, probably of buff leather. Leggings, or greaves, covered the front of the leg as high as the knee-joint. The offensive arms were the lance, sword, sKng, and bow. The auxiliary soldier, like the militia, wore either a helmet^ without a crest or chin-strap, or a frontlet with chin-strap of leather or metal, resembling that worn by the Frankish-Merovingian warriors. The buckler, generally breast-high when round, and two- thirds of the height of a man when it was long, was usually squared at the base and rounded at the top ; it covered nearly the whole body of the man, who wore a long tunic, and had, like &e regular soldier, for offensive arms, a sword, which hung at the left side, a lance, sling, BJid bow. The Persian archer on the bas-reliefs of Persepolis, the ancient capital of the ancient monarchy of- Persia (560), is often covered with a casque or bonnet, which resembles in shape the cap of the French magistracy. Two mouldings of these bas-reliefs, exhibited in the British Museum, also show- casques in scales, and with chin-pieces, which greatly re- semble those of the second part of the Christian middle The Assyrian horseman rode without either saddle or spurs, wore a casque with cheek-straps, but -without a crest, and whose semi-conical shape, something like the Gaulish helmets, differed from those worn by the foot soldiers ; he 24 Abridged History rarely carried a buckler, but wore a cuirass, or rather, coat of mail, witb a sort of miner's apron banging from tbe back, which resembled the garde-reins in plate-armour of the middle ages, and was, like it, intended to protect the lower part of the back. He also wore leggings of scales made in the same manner as the corselet, and always carried the lance and sword. The archer, who is sometimes represented mounted, wore the corselet, but seldom the casque. Like the auxiliary soldier, his head was protected only by the frontlet. Often the lower part of the archer's leg is encased in greaves. When on foot he wears the long tunic. In addition to the bow, arrows, and quiver, he carries a sword, but not a lance. The Assyrians were acquainted with war-chariots, which are to be seen on several of their bas-reliefs, carved in the thirteenth century e.g., which invalidates the opinion of Virgil, attributing their invention to Erichthonius, King of Athens, and also those of other authors, who give the credit to Triptolemus and Trochilus. We see, too, on these valuable granite sculptures, the catapult and the balista, whose invention is due to the Assyrians, as classic authors affirm. The shape of these war-engines — intended to hurl projectiles of all kinds against the enemy, to batter in the walls of the besieged cities, and to strike from far oif their defenders — differ but slightly from the Greek and Eoman ones. As to the ancient Persian arms, the only guides we have are a few casts from the bas-reliefs of Persepolis, exhi- bited in the Louvre and the British Museum, among those of Chaldsea, Babylonia, Assyria, and Media. The defensive armour, as we have already mentioned, resembles more closely !that of Europe during the middle ages than Asiatic armour. They had the helmet with scales, one laid over the other, :and with the chin-guard, and perhaps also the vizor turning on a pivot. Mithras sacrificing the bull, on a monument (an engraving of which is to be seen in De la Chaussee, Kom. MS.), wears the helmet with rounded head-piece in ithe Etruscan style. This piece of sculpture, which is believed to date back to the birth of him who reformed Magianism, a time which wavers between the twelfth and sixteenth centuries B.C., is not much to depend on. It is ■doubtful whether the shape of the helmet, and still more of the knife, with which the god sacrifices, and which resembles of Ancient Arms. 25 the modem Indian dagger, can really be attributed to the ancient Persians, whose language, the Zend, has been dead for a long time, though the Ghebir priests use it still, in repeating prayers of which they have ceased to understand the meaning. The bronze Persian helmet with rounded top of the dynasty of the Sassanides (e.g. 220 — 552), pre- served in the British Museum, recalls the shape of the German round-topped casque of the tenth century. After the fourth dynasty, that of the Caliphs (652), until the end of the twelfth, that of the Mongols, and other Mahomedan rulers, Persian weapons take an entirely Mus- sulman character. During the dynasty of the Sophis (1499 — 1736), Persian weapons have hardly changed form, and greatly resemble one another. The miniatures in a copy of the Schah-Nameh, or Eoyal Book, composed by the poet Ferdusi, in the reign of Mahmoud (999), and copied at the beginning of the seventeenth century, now in the library at Munich, show nearly the same shape of helmets, and the same weapons that are stiU used in Persian warfare, from whence comes the scimitar, a name derived from the Persian chimichir, or chimchir, a weapon called seymitar by the Germans, and acinace by the Eomans, the forefather of the sabre, the German Sable, or Sabel, which was already known by the Dacians, and on the farther shore of the Ehine, about the fourth century, and introduced into the rest of Central Europe at the beginning of the first Crusade. The Chaldasan and Median weapons are often confounded with those of Assyria. The soldier of ancient Babylon — which was peopled by Chaldseans from the sea, whose capital was Teredos — nevertheless appears to have worn, instead of the conical casque, a metal head-dress, similar to that represented on a Persian bas-relief, already mentioned, and which has the shape of a French judge's cap. Media, the most powerful kingdom among those which were formed from the ruins of the first Assyrian empire, can with diffi- culty be separated in treating of the armament of its troops, from Persia, and particularly inasmuch as its first king, Arbaces, did not live more than 759 years B.C., and that the kingdom of the Medes was, in 536, already absorbed in that of Persians under Cyrus. From this time forward the terms Medes and Persians are always spoken of to- 26 Ah-id'ffed History getherj and employed indistinctly for tte inhabitants of these two different countries, so .that even the Persian wars against the Greeks have been called Median wars. Without taking into account the-fabulous history in whicb' the Hindoos place their origin at a date of exaggerated' antiquity, we may fix the first known dynasty of kings, that of the Chandras, at B.C. 3200, a dynasty which had probably been preceded by many periods of civilisation, now lost to us. It is much to be regretted that the English officials who have successively governed India should not have gathered more of the numerous and splendid architectural ruins, which even now cover the soil. The few sculptures in the British and South Kensington Museums are insufficient, nor do the Louvre or the Berlin Museum possess any of the peculiar carvings, figures twisted and contorted in the style of the European religious sculptures of the end of the seven- teenth and beginning of the eighteenth century. And none of the museums possess any monuments for the study of Hindoo armom-. The photographs exhibited at the Kensing- ton Museum, which represent a large number of ruined palaces, temples, and a few commemorative stones in sculp- tiu'ed granite, show that the Hindoos, like the Egyptians, cared Httle to perpetuate their feats of arms on buildings, for among all the sculptures there are only a few stones of Beejanuggur, the Hunguls, which represent warlike subjects, nor do these date farther back than the first haK of the' Christian middle ages. The figures represented betoken that Hindoo war-harness has changed but little as regards offensive armour ; and it is only in the casques that a radical change has manifested itself, since the fourteenth and fifteenth centuries of our era, when the Arab taste began to react against that which had nearly effaced it, in its own produc- tions. As to the Javanese armour, there is only a fine statue of the Goddess of War in the Museum of Berlin, which gives a few indications, though not very ancient, by reason of the sword which she carries. The funereal and civil monuments of Egypt — a country where the genius of the nation turned inore towards agricul- ture and the sciences than towards war — also exhibit far fewer military subjects than do those of Assyria. Denon, in his " Voyages dans la Basse et Haute Egypte," has, it is true, of Ancient Arms. 27 given a few drawings of weapons, as also • has M. Prisso d'Avesnes, in liis " Monuments E^^tiens ;" but these are too few, even when combined with the bas-reliefe of Thebes, and the few actual weapons presei'ved in' the musemns of J Londoii, the Louvre, and Berlin, to' convey an. exact idea of the arm- ing of the whole pi the Egyptian forces. In the , drawings we find a helmet, which recalls the fool's cap and bells of this Christian middle ages, and the casque of the Hindoot Hungul ; a coat of bronze scale armour, drawn by M. Prisse d'Avesnes from a monument of the age of the Pharaohs (eighteenth dynasty, B. c. 1000), judging from a Biblical inscription engtayed on one of the scales, which measures an inch and a half iii length, by three-fourths of an inch in breath. The buckler, square at the base and rounded at the top, has a hole pierced in ,it, through which the soldier can see thfe enemy without imperilling his safety ; this buckler was nearly the height of a man. The bow, the arrows with their qtiiyer, a hlow-warder — a peculiar- instrument, which brings to mind the small round shield with hooks, and the swordrhreaher of the middle ages, and intended like the latter to catch and break the adversary's sword ; a few swords, or rather knives, with a single edge, in the style of the Meroviugian " scrama saxe," and rarely the lance with a metal head ; these are all that we know of the armour of this country, for the kind of hood on the wounded warrior, from a bas-relief of Thebes, does not enable one to dis- tinguish whether it be a piece of defensive armour or a simple covering. The few daggers in bronze exhibited in the l^yptian museum at the Louvre seem by their shape to indicapte a Greek origin, though the weapons were found in Egypt. The coat in crocodile's skin in the Egyptian mu- seum of the Belvedere at Vienna, and the bronze dagger in the museum of Berlin, appear, nevertheless, to be of very great Egyptian antiquity. Etruria, Greece, and Eome, have fortunately left us wea- pons in which art manifests itself as well in the harmony of form as in the detailed execution; and it is only by starting from the epoch when these countries were flourishing that a history of weapons can be based on' a firm footing, by study- ing the pieces exhibited in a large number of museums. The offensive and defensive Greek weapons in the time of 28 Abridged History Homer (b. o. 1000) were all composed of bronze, though iron, as we are aware, was not unknown. The defensive armour was composed of the cuirass, breast- and back-plate, each plate cast or hammered in one piece, and also the corselet of imbricated scales, the casque, the large round convex shield, and the greaves, or leggings. The offensive weapons were the cut-and-thrust sword, straight-bladed, at first short and broad, afterwards longer and double-edged, sharp-pointed, with a rectangular sheath, always worn on the right side ; the " parazonium," a short, broad dagger (resembling the " langue de boeuf " of the middle ages), worn on the left, the lance, from eleven to fifteen feet in length, the blade broad, long, and sharp, rounded towards the socket, and with a cross- piece in the centre, and which was used either to thrust or to throw, and the javelin, with its amentum or thong, which was a kind of long arrow. The Greeks had at that period no cavaby ; they had even no phrase to signify mounting on horseback, similar circumstances being probably the reason why the French language lacks a substantive to render the German word " Eeiteu." Later on, in the year b. c. 400, the Greeks made an addition to their armies by enrolling slingers and horsemen. The Etruscan armour, a portion of which ought to precede in this work Greek armour, shows in its first period the influence of the Phoenicians, and in its second that of the Greeks, with whom the Etruscans, after the emigration of .ffineas, were so closely allied. The third period is purely Eoman, and is involved in obscurity. Polybius, born in the year 552, after the foundation of Eome, or 202 before Christ, is the first author who has described the arms of a Boman soldier, and speaks only of those of his own time. The information left by this tutor and friend of the second Scipio Africanus, taken with the small indications furnished by monumental sculptures on the borders of the Ehine in Germany, by the columns of Trajan and Antoninus, and by the Arch of Orange (in France), comprise almost all that is known on the subject. Thanks to the poems ascribed to Homer, we have much better information about the Greek arms in use in the tenth, or possibly in the thirteenth, century before Christ, at the time of the siege of Troy, than on those with which this sovereign people subdued the o/ Ancient Arms. 29 world. It is very probable that the Eomans, as well as the Greeks and Etruscans, at first used only bronze in the fabrica- tion of their offensive weapons, but in the time of Polybius this metal was no longer employed except for casques, breast- plates, greaves, and other arms of defence. Whilst bronze was still the only metal in use among the Gatds, the Bomait weapons were already made wholly of iron and steel. The Eoman army was composed of three kinds of troops, the velites, or foot soldiers lightly-armed, the Jiastarii, spearmen, or legionaries, and the cavalry. The first were armed with small javelins, about four feet in length, the iron of which measured nine inches, with swords, and with a light shield, roimd or oval, three feet in diameter, and called parma, on account of its round shape. This was the same kind of shield which the gladiators used. The casque had generally cheek-pieces, but no crest, though sometimes it was orna- mented with woH-skin. The spearman was protected by a helmet of iron or leather, ornamented with a plume of three black and red feathers, by greaves (ecreoe), by a breast- plate (or cuirass with two shoulder-pieces), all of bronze. He also carried a large convex shield of wood, leather, and iron, four feet in length and two and a half feet wide. TTis weapons of attack were the Iberian (or Spanish) sword, worn on the right side, similar to the Greek soldier, two javelins, one of which was the celebrated pilum of the legionary, which we shall meet at a later period in the Frank equip- ment. The slinger was armed with the sling, copied from that cajried by the Achseans. The cavalry soldier in the time of Polybius was equipped Hke the Greek. As before that time the cavalry soldier's only weapon of defence had been a roxmd, oval, or hexagonal shield of bull's hide, it was now foimd necessary to equip him in a more complete style, so as to resist the formidable attacks of barbarians. Later on, in the time of Trajan and of Septimius Severus, a flexible cuirass was added, being either a squamata, composed of small iron or bronze scales sewed on linen or leather, or a hamcUa, made of metal chains — ^the same kind of coat of mail as those that have been found at Avenches, in Switzerland, and which are at present exhibited in the museum of that town. On examining the Trajan Column it will be seen that a great many of the soldiers represented 30 Abridged History on it have breast-plates that are made neither of mail nor scales, but of long plates of metal, something like the armour of the middle ages ; and from the bas-reliefs on this monu- ment it will be seen, that the Roman army was composed of a great number of troops whose different equipments varied as milch as the/ do how in our modem armies. The ancient Eomans as well as the Greeks made use of machines in war. Besides the scythe chariots originally imported, like many other instruments of warfare, from Assyria, they were acquainted also with battering-rams, which lad been already in use at Palss-Tyros (the ancient Tyre, founded about 1900 B.C.), and are mentioned in the old Testament. Ezekiel (599 b.c.) says that the king of Babylon used battering-rams against the walls of Jerusalem. (Ezekiel, ch. :xxi. V. 22.) Of these instruments of war, already referred to, the halista was used to shoot enormous arrows, and the catapult, or tormen- tum, even larger projectiles, some of which were ingot-shaped, sharpened at both ends ; these in Greece were often inscribed with the word AEAHI (receive this), as we may see by several leaden specimens, which have, been found in making excavations. Among the Greeks those catapults which fired point-blank were called a}&vTova, while those which carried missile's as our mortars throw shells were called iraXivTova. Another engine used in warfare was the tolleno, a kind of weighing machine with two baskets attached to it which was used to deposit the attacking party in the besieged place. M. Ehodios makes mention in his treatise IIEPI nOAE- MIKHS TEXNHS (Athens, 1868) of a catapult, or more pro- perly portable balista, something like the crossbow of the middle ages, which he describes and illustrates from the Byzantine MSS. ; but we doubt if the kind of crossbow that M. Ehodius calls gastrafetes, because the crossbow-man used to rest it on his stomach, can be traced back to the Greeks and- Eomans, for the ancient writings do not mention it. We have already seen from the introduction that several of these machines of war, described by Heron, Philon, and Vitruvius, and which were called respectively, eutJiyiones, xybeles, palintones, and scorpion catapults, have been made at the present day for Napoleon III.'s collection of arms. With regard to the polyspaste or crane of Archimedes (an engine of Ancient Arms. 31 whicli was used to raise and shatter to pieces wJiole vessels) a good deal of uncertainty exists, but there is good reason to believe that it may be identified with those enormous hooks that were used to pulL off the heads of the batteriirg-rams. The. shell-like covering or shed tmder which the battering- ram was worked was called entines (in German Hothschlangen'), culverins (FeldscMangen), demi- culverins, falcons, and falconettes. There were also mortars (^Moerser, or Boeller, or Boiler) that were moved from place to place on chariots. In France the names passevolants, basilics, spirales, bombardes, veuglaires and pierriers, were used to designate various pieces of ordnance. L'orgue a serpentins, which was a machine composed of a great nimaber of guns of small bore, loaded either from the muzzle or at the breech, had each separate chamber encased as far as the muzzle in wood or metal : these chambers were fired in succession or all at once. In Germany they were called Todtenorgel (death-organ). Weigel, writing in 1698, says that in the arsenal at Nuremberg there were organs with thirty-three pipes to them; and that death might be said to play dance music on them. One of the earliest of these machines is in the Museimi at Sigmaringen ; it was made at the beginning of the fifteenth century. It is loaded from the muzzle, and is composed of small wrought-iron cannons rudely mounted on what looks like the trunk of a tree, and moves on two round disks of wood for wheels. Another of these machines, termed orgue de danse Macabre, copied in 1505 by Nicolaus Glockenthon from one in the arsenals of the Emperor Maxi- milian, is composed of forty square-shaped tubes fiarmly joined together and mounted on a stand with large wheels somewhat similar to the carriage of a field-piece. A third one, of the seventeenth century, consisting of forty-two barrels, mounted so as to form a triangular block, and to fire six successive volleys, is now in the Museum at Soleure. From the " fitudes sur rArtiUerie," by Napoleon III., pub- lished in 1846, it will be seen that there were some of these machines which could fire a hundred and forty shots at once. With regard to hand grenades, they appear for the first time in 1536, while petards, which are supposed to 66 Abridged History have been invented by the Hungarians, do not appear till 1579. The Swedes had in the Thirty Tears' War cannons of leather lined with a tubing of brass or yellow copper. These cannons, specimens of which may be seen in the Arsenals of Berlin and Hamburg, in the Museum of Artil- lery in Paris, and the collection of the king of Sweden, were about three feet seven inches in length. The centre barrel was of thin copper, and wound round it was a stout cord that separated the leathern casing from the metal tube. These guns were not very strong, and the charge was only about a quarter of what would be used at the present day. They were given up after the battle of Leipsig, for on that occasion they be- came so hot that they discharged themselves spontane- ously. They were superseded by a species of ordnance called Swedish guns, which diifered very much from those used by the Imperial Austrian army, and which had been pro- posed by the Count of Hamilton. In the arsenal at Zurich there is another kind of cannon very like the leather cannons of the Swedes. Like those mentioned above, these cannons were made of a tube of yellow copper, but between it and the exterior leather tube there was a thick layer of lime, and round them were also several rings of wrought iron. This gun was very useful because of its light weight in a moun- tainous country like Switzerland, for a man could carry it on his shoulders ; it also had trunnions like the Suedoise, and a covering plate on hinges for the touch-hole. The length was about seven feet. The rifling of hand fire-arms was invented in Germany towards the end of the fifteenth century, and a little later it was applied to large cannons, as may be seen from the rifled cannon of the sixteenth century in the Museum at the Hague. The iron cannon in the arsenal at Berlin has thirteen grooves to it, and is dated a.d. 1661 ; and at Nuremberg there is a wrought-iron cannon of the year 1694 which has eight grooves. Not much attention had been paid to the rifling of large guns till after Benjamin Eobins, a member of the Eoyal Society of London, born in 1707, had treated the sub- ject mathematically. Modern artillery has been greatly altered through the improvements made by Paixhans, pub- lished in 1822 ; by those of Armstrong, and by the wonderful of Ancient Arms. 67 progress that M. Krupp has made in the manufacture of cast-steel cannons ; one of which, a breech-loader, exhibited by him in 1867, weighed 49 tons 2 cwt. ; the shot was also of cast steel, and was 10 cwt. 3 qrs. in weight. Portable fire-arms were often confovmded with heavy ar- tillery in Europe in the days when gunpowder was first em- ployed. The first trace of hand fire-arms is towards the middle of the fourteenth century; and it appears that the Flemings used them some time before other nations. The town of Liege had made several experiments in the manu- facture of small liand cannons, portable firearms, called by the Germans KnallbiiscTien ; they were adopted at Perugia in 1364, at Padua in 1386, and in Switzerland in 1392. These cannons were used also at the battle of Eosebecque iu 1382, at the siege of Trosky in Lithuania in 1383 ; and in the records of Bologna of 1399 they are called sclopo, from which word is derived sclopetto and escopelte. At Arras in 1414 this small hand cannon was used for projecting leaden bullets ; at the siege of Bonifacio in Corsica in 1420 these bullets even penetrated the armour. In 1429 and 1430 this new kind of weapon was used for firing at a mark both at Augsburg and Nuremberg. At the close of the fifteenth century its use had extended to the cavalry, as may be concluded from the expression JEques scoppetarius, used by Paulus Sanctinus. The continual alterations that have been made in the different sorts of portable arms that have been invented since the adoption of hand cannon have given birth to more nume- rous names than even those of large firearms. By classifying them carefully according to their mechanism, we may divide them into thirteen distinct kinds, viz., the Jiand cannon of the middle of the fourteenth century, a rudely-made weapon in wrought iron, fastened to a piece of rough wood, so that it could not be brought to the shoulder ; the touch-hole was at first made on the top of the cannon, and had a covering plate on a pivot or on hinges, to preserve it from damp. A little later the touch-hole was placed to the right of the cannon. This primitive weapon is represented in the water-coloxir drawings of Glockenthon, executed in 1505, and mentioned above as having been copied from some canncns in the arsenal of the Emperor Maximilian. Four small tannons are represented 68 Abridged History fixed to the four corners of a board, and a gunner is firing them with a match. This hand cannon was often served by two men. When of a small size, and intended for the use of cavalry, this hand cannon was called in Trance petronel, from the old Spanish word pedernal, a fire-arm ; or perhaps (foitrinal) from the fact of its being rested against the cuirass. The hand cannon, which could be fired from the shoulder, termed in French Le canon a main a epauler, belonging to the end of the fourteenth century, is distinguished from the former by having a rudely-fashioned stock. The touch-hole is generally on the right side. All these weapons were fired with a separate match. Two other sorts of hand cannons, a serpentin, or a dragon, without trigger or tumbler, were invented about the year 1424. The match was fastened to the weapon itself, and was held by the serpentin, a sort of small linstock. When this weapon was better made it was called a hand culverin, petrinal, or poitrinal, from the shape of the stock, which was often rested on the cuirass. The hand cannon, with match-holder, without spring, but with a trigger, that could be fired with a surer aim when rested on the shoulder. The Harquebus (from the German word Sack-Buss, or cannon with catch), with match-holder, trigger, and tumbler, made about the latter half of the fifteenth century. It is a weapon very perfect in make, and the prototype of our guns of the present day ; the barrel was about three feet three inches in length. The double Harquebus (from the German Doppelhacher), a firearm with a double catch or match-holder. It was mostly used for defending ramparts; the length being from three to seven feet. The lock is distinguished from that of the simple Harquebus, in having two match-holders working in opposite directions. It was often supported by a stand resting on iron spikes or wheels that was called fourquine. The wheeled or German Harquebus {Badschlosbiiclise in German) was invented in 1515 at Nuremberg. Its dif- ference consists in having a wheel-lock, usually made of ten separate pieces. It is not, like all earlier arms, fired with a match, this being superseded by the sulphurous pyrites, called also marcassite, which is found in cubes of a brilliant golden of Ancient Arms. 69 yellow. This is that combination of sulphur and metal that the Eoman patrols took care never to be without, so as to procure a light as quickly as possible. The pyrites, when struck by this cogged wheel, ignited and fired the charge. This new weapon, however, was never able to replace entirely the harquebus with the match, whose mechanism was more simple, solid, and much more sure, for when used the sulphurous pyrites, which was extremely brittle, broke very easily. The Museum of Dresden possesses a smaU hand cannon eleven inches long and four inches and three quarters in diameter, of the beginning of the sixteenth century, which appears to have preceded the invention of the wheel-lock and given the first idea of.it. A rasp by grating against the sul- phurous pyrites showers sparks upon it as soon as it is removed from the screw-plate. This piece has been for a long time ignorantly considered as the first fire-arm invented by Berthold Schwarz (a.d. 1290-1320), a German monk, to whom also was attributed the invention of gunpowder. The flock of compilers still continue to call this little hand- cannon " Moenchsbiichse," or monk's arquebus, and to point it out as the first fire-arm. The musket, whose construction and mechanism is the same as that of the arquebus, is used either with a wheel lock or match ; it differs from the arquebus only in diameter, the charge and bullet being double in size. Being much heavier, it necessitated the use of a rest or carriage like that of the double arquebus. The French musket in 1694 was generally, according to Saint-Eemy, of the calibre of twenty leaden bullets to the pound ; it was three feet eight inches long in the barrel, and including the stock was five feet long. The arquebus or musket with rifle barrel, with balls driven home by a mallet. The rifled barrel invented in Germany, according to some authorities at Leipsig in 1498, according to others at Vienna by Gaspar Zollner, was not adopted by the French army until 1793 ; it was the carbine of Versailles. The arquebus or musket with the " chenappan," a name 70 Abridged History corrupted from the German " Solmapphahn," a cock pecking, indicates the time of its invention, which was the latter half of the sixteenth century, for mention is made of moneys paid in 1588 by the chamberlain of Norwich to a gunsmith, Henry Eadoc, who changed the wheel-lock of a pistol to a " snaphaunce." The name " Chenappan" was soon given in France to robbers who used this new weapon, and the Spanish bandits of the Pyrenees who were em-olled under Louis XIII. were also called " chenappan ;" as were also the Barbets of the Alps, the last remnants of the ' imhappy Vaudois, who were forced by religious intolerance to become marauders and bandits. The "snaphaunce" method, which was worked by means of the sulphurous pyrites, may be looked upon as the forerunner of the French flint-look, which is derived from it. Nearly all the Oriental arms, and particularly the Turkish guns, subsequent to this date were snaphaunces. The flint-lock gun was in all probability invented in France about 1640. This gun was also uaxaeAfusilr-mousquel, as it had a bayonet with a socket, an invention wrongly at- tributed to the Scottish General Maokay, in 1691, but really introduced into the French army by Vauban. The socket allowed the marksman to shoot, and still keep his bayonet on the gun-barrel. The handled or " plug " bayonet was obliged to be fixed into the gun-barrel at the moment of charging, which was very inconvenient. Some few Italian authors have wished to attribute to their country the invention of the musket, because its name "focile" is derived from the Latin "focus," fire, but as the name "fusil" already appears in France in the orders of hunting in the year 1515, that is to say, a hundred and fifty years before the replacing of the wheel-lock by the flint process, it must be admitted that the name of " fusil " was then applied to arquebuses of the old fashion. It has been already mentioned that the invention of the socketed bayonet is wrongly attributed to the Scottish General Mackay, in 1691. M. Culemann at Hanover possesses an arquebus with a wheeled lock of the end of the sixteenth century, where a long bayonet, whose blade at the same time serves as a barrel cleaner, is fastened by a socket. The change which the lock of the fire-arm underwent of Ancient Arms. 71 by the invention of the flint battery was important, but neither immediate nor radical, because it was preceded by the snaphaunce lock, in which we already meet with the dog- head or hammer. In the French guns, the pyrites was replaced by flint, which was strongly held in the grip of the dog-head and sharply struck against the steel hammer, as soon as the finger pressing on the trigger loosed the spring, and the shower of sparks set light to the powder in a pan communicating with the touch-hole. Vauban also invented a gun with a double firelock, after the manner of the arquebus with wheel and screw, so that, supposing the gun were to flash in the pan, a screw-match would set fire to the priming. The old match-lock was not entirely replaced by the new gun with the hammer until 1700. Prince Leopold I., of Anhalt Dessau, the organiser of Prussian infantry, introduced in 1698 the iron ramrod among his soldiers, and this amelioration of the gun contributed to their victory at the battle of Mollwitz in 1730. The cartridge, that is to say, the complete charge of the fire-arm wrapped in one packet, appears to have been used for the first time in Spain about 1569 ; it was not adopted in Prance until 1644, along with the cartridge-box invented by Gustavus Adolphus in 1630. The carbine is a fire-arm with a rifled barrel, generally short and used by cavalry ; but war and hunting fire-arms with rifled barrels are also called carbines. The blunderbuss [mmisquet tonnerre, French ; donderbus, Dutch; " Streubiichse," German) had a wide trumpet-shaped barrel, and discharged ten or twelve balls at once. The pistol, the diminutive of the arquebus and fusil, whose name was probably derived from "pistallo," a pommel, rather than from "Pistoia," the city of that name, appears to have come originally from Perugia, where as early as 1364 they constructed " hand-cannons " only the length of a " palma," about nine inches. The German " Tercerole " was a small pocket pistol, probably of Italian origin. The percussion-capped gun, whose invention is wrongly attributed to the English Captain Fergusson, commanding a Hessian regiment in the American war (1775-1783), dates 72 Abridged History back no further than 1807, when the real inventor, a Scottish armourer of the name of Forsyth, took out a patent for the percussion gun. The first chemical researches concerning the composition of detonating materials,* appear due to Pierre Bouldure, iu 1699. Nicholas Lemery continued these researches in 1712. Bayon, army surgeon under Louis XV., appears to have made known in 1764 the fulminate of mercury — a salt composed of carbon, azote, oxygen and mercury — an invention erroneously attributed to Howard, who in 1800 composed the iirst explosive powder of ful- minate of mercury and saltpetre, a preparation fitted to re- place the priming powder in fire-arms. Liebig and Gay- Lussac in 1824 analysed these fulminates ; and it is to Fourcroy, Vauquelin, and Berthollet, that the discoveries (between 1785 and 1787) of the fulminating salts of gold, silver, and platinum, as well as the muriated oxygen of chlorate of potash, are due. In 1808 the armourer Pauly, who had modified Forsyth's gun, introduced it into France. The percussion gun of Joseph Egg may also be cited as having led this gunsmith to the invention of the priming capsule, a small copper cylinder open at one side and filled with fulminate. In 1826 M. Delvigne found out a method of forcing the bullet into the rifled barrel of the carbine without the use of the hammer, and in a manner to avoid the inconveniences of the systems hitherto tried. The " Stecher," or hair-trigger, erroneously called in French " double detente," an ingenious piece of mechanism to render almost insensible the concussion produced by the loosing of the ordinary trigger, invented by a gunsmith of Munich in 1543, is not a new system, but merely an amelio- ration which may be adapted to most carbines, and with vrhich all the ancient German fire-arms of the sixteenth and seventeenth centuries are provided. We have seen that the wheel-lock has been in all ages very little used in warfare, but it was universally adopted for hunting and parade weapons, and has given way only to percussion. The arquebus and the musket, whether match or wheel- * Ammoniwes fulminantes, which must not be confounded with ftUminatee. of Ancient Arms. 73 lock, were not two dijfferent systems, but only two kinds of tlie same system ; they differed neither in form nor mechanism, but only in calibre ; they were the usual arms of the regular troops. The arquebusiers were provided with large powder- flasks, a horn for the priming, several yards of match, and a bag of buUets. The musketeers had in addition to the sword and cushion a baldrick with wooden powder-tubes, called Pulvermassen in German, a priming horn, a bag of bullets, some matches and a match-case, a copper utensil invented by the Dutch, and nearly identical with the match- case of the grenadiers of the eighteenth century. The origin of portable breech-loading fire-arms, of guns with more than one barrel, and even of revolvers, dates from the beginning of the sixteenth, or even the end of the fifteenth century ; these appear to be all of German inven- tion. The Mus^e d'ArtiUerie at Paris possesses a German wheel-lock arquebus of the sixteenth century, which was loaded at the breech, and another, also of the sixteenth century, with an opening in the barrel, receiving the charge either in a metallic envelope, or in a movable chamber, a system which has been brought forward again in modern times. The " amussette " or plaything of Marshal Saxe, at the Mus^e d'ArtUlerie at Paris, is also a breech-loader. There are specimens of these weapons at the Tower of London, at the Museums of Sigmaringen, Dresden, and the Imperial Arsenal of Vienna. The Museum of Sigmaringen possesses a German arquebus of the sixteenth century, which is a revolver with seven barrels, and a German gun of the eighteenth century, with four barrels. The Musee d'ArtiUerie at Paris also exhibits one of these weapons still retaining the old match-lock. In modem times in France, Pauly in 1808, Leroy in 1813, and more recently Lepage, Gastine-Eenette, and Lefaucheux, have invented different systems of percussion breech-loading guns; but that of M. Lefaucheux alone has remained in favour for sporting weapons, after Grevelot had introduced a great amelioration in the manufacture of percussion caps. The repeating but not revolving fusil, that is to say, a weapon the barrel of which receives various charges in a groove which can be discharged successively, is likewise not a modem invention ; the Museum of Sigmaringen possesses 74 Abridged History of Ancient Arms. an ancient gim of tHs character; it is grooved, and fires successively six shots. Since America has begun to manufacture metallic cartridges the revolving fusil has reappeared in that country, where Spencer and Winchester have invented different processes. The revolving pistol, revived at Paris by the gunsmith Lenormand in 1815, who constructed one with five barrels, was soon followed by the Devisme revolver with seven barrels, and by the Hermann revolver at Liege, by the Mariette pistol with twenty-four shots, and lastly by the Colt revolver in 1835, the best of all, and which is most generally in use. After the mention of these different descriptions of fire- arms we have only to speak of the celebrated breech- loading needle-gun. The inventor, Jean Nicolas Dreyse, was born in 1798, at Soemmerda, near Erfurth; he con- structed the first needle-gun in 1827, after seventeen years of study, and took out a patent in 1828, for eight years, for his spring needle and fulminating cartridge. This gun, the first perfect model of which was adopted in Prussia about 1841, has since undergone many changes, for it was only in 1836 that breech-loading was applied to the manu- facture of this gun. Since that time every nation has pro- duced its needle-gun, and attempted to manufacture a weapon superior to that which produced such terrible results in the late war. It is difficxilt to ascertain which of the new modi- fications deserves the palm. The results of the experiments made on September 5th, at the shooting-gallery of Spandau, with the models of the needle- gun uSed by different nations, are, according to oflicial re- port, as follow: — The Prussian needle-gun discharges 12 shots per minute, the Chassepot 11, the Snider (England) 10, the Peabody (Switzerland) 13, the Woenzl (Austria) lo' the Eomington (Denmark) 14, the Werndl (Austria) 12, and the revolver of Henry Winchester (North America) 19. In respect of accuracy, however, the last-mentioned weapon takes the lowest rank, only eleven of the nineteen shots being on the target. 75 II. WEAPONS OF PEE-HISTOEIC TIMES. THE AGE OF STONE. CHIPPED FLINT WEAPONS, AND WEAPONS IN PO- LISHED STONE. CHIPPED FLINT WEAPONS. IT is certain, as we tave already observed, tliat earth, wood, tlie skins of wild beasts, and, above all, stone scattered over the earth, must of necessity have been the first materials which man employed for the manufacture of his tools and weapons; and it is with these primitive products that a universal history of the weapons of all people shoidd begin. It would be superfluous to reiterate here what has been said on this subject in the first pages of the preceding chapter ; it has been shown that weapons of chipped stone have every- where preceded those of polished stone, the manufacture of which required less primitive processes. There exist also some of these weapons which are neither in the first rough state, nor in the fine polished state of the second ; smoothed but not polished, they belong to epochs of transition, the dates of which naturally vary according to their different countries. In France it has been attempted to divide these productions into three distinct classes ; that of their first appearance, that of the existence of the reindeer in France, and that of the dolmens ; but as epochs in the progressive march of civilisation sometimes differ greatly even among people of the same origin and race, this classification is not altogether satisfactory. The stone weapons found in the Perigord along with bones in a cavern, some of which are engraved with the image of the mastodon, might indeed add a few proofs of the existence of man during the third geological epoch, but it would be necessary to submit these engravings to a microscopic obser- 76 Chipped Flint vation, so as to assure ourselves of the absence of any decep- tion. It is not enough that these bones and weapons should be gathered up in alluvial-diluvial deposits, which may have undergone disturbances, as is shown by the different "movable deposits," so called because they are com- posed of objects belonging to different epochs. The Alpine diluvium, when undisturbed, contains no organic matter in the state of ossine, a substance which is peculiar to unfossilised bone, so that aU alluvial soil containing the least bone, with ossine, is later than the great terrestrial disturbance which we call the Deluge. Many weapons and tools of manufactured flints betoken surely that they are not antediluvian ; they are formed out of pebbles which, although found in the interior soils of our continent, have clearly been rolled together before being worked by hand. The manufacture of flint without metallic tools or corrosive acids can be explained only by the facility with which the flint, when freshly quarried, and before it has undergone the influence of the atmosphere, can be divided by splintering. Weapons. 1. Babylonian flint arrow-head ; reign of Nimrod, the founder of Babylon (2J inches). Museum of Berlin, 2. Egyptian flint knife (4 inches). Museum of Berlin, 3. Egyptian flint knife (6 inches). Museum of Berlin, i, Egyptian flint lance-head (6 inches). A quantity of chips in flint, in- tended to be made into tools and weapons, has also been found at Sarabut El Khaden. 5. German hatchet in basalt (7 inches), found near Lintz (Austria). Museum of Sigmaringen. 6. Wedge of serpentine (6J inches), found near Lintz, in Austria. Museum of Sigmaringen, 7. German flint lance-head (or chisel) (7i inches), found at Balingen. Museum of Sigmaringen, 8. German flint hatchet (5 inches), found at Eugen, an island in the Baltic. Museum of Berlin, 9. German flint knife (5 inches). Museum of Berlin. 77 3 10. Point of German lance. 11. Doubled-headed hatchet of smooth stone ; a transitory link between the chipped and polished stones. It is 5 J inches long, and was found at Lunehurg. Museum of the City of Hanover, 78 Chipped Flint H 12. Kelto-Gallio yellow flint hatcliet called " Pain de benrre." It is 10 inches long, and found at Pressigny-le-Grand (ludre et Loire). See the " Moniteur" of France, IS May, 1865. Author's Collection. 13. Kelto-Gallic yellow flint knife of 5 inches : found as above. Author's Collection. 14. Kelto-Galho yellow flint knife (3 inches) : found as aboTe. Author's Collection, 15. Helvetian flint dagger of 5 inches length : found near Stavaye', in the lake of Neu- chatel. Museum of Fribourg. 16. British flint arrow-head of 2| inches length. It may data from a time preceding the arrival of the Phoenicians. Llewellyn Meyrieh Collection, 17. Irish barbed arrow-head, whitish flint, of 5J inches. Christy Collection. London. British wedge or hatchet in whitish flint, of SJ inches: found at Cisburg Camp {sic) in Sussex. Christy Collection. London. Iberian or Spanish flint dagger of Si inches ; found at Gib- raltar. Christy Collection. London. 20. Bohemian flint knife (5 J inches). Museum of Prague, 21. Danish flint hatchet (11 inches) (called in Danish, Kiler of Flmt). Museum of Copenhagen. IS, 19, Weapons. 79 22. Danish flint hatchet of superior shape (5§ inches), (in Danish KUer of Flint). Museum of Copenhagen. 23. Danish flint lance-head (7J inches). This weapon (Lanse- spits of Flint) is as sharp as any steel ■weapon. Museum of Copenhagen. 24. Danish flint lance-head (9 inches), less sharp, but show- ing equally skilful work with the preceding one. Museum of Copenhagen. 25. Danish ilint dagger (8 inches), worked in an admirable man- ner. (Dolk of Fliut). Mtiseum of Copenhagen, 26. Danish flint dagger with rounded handle (13J inches). A marvel of workmanship. Museum, of Copenhagen. ^3 a* as S.& 27. Danish fliat hatchet-sabre (15J inches). Very fine work. Museum of Copeiihageti. 28. Two Danish barbed flint arrow- heads (IJ inch) (Pilespidser of Flint in Danish). Museum of Copenhagen. 29. Long arrow-head, unbarbed. Danish flint (34 inches). Miisemn of Copenhagen. 3& 29 80 WEAPONS IN POLISHED FLINT. When we see that Denmark produced these beautiful weapons in chipped flint, the fineness of whose workmanship generally surpasses that of the polished flints of the second epoch of other countries, it must necessarily be admitted that the phases of Danish civilisation do not tally with those of the Germanic and Gallic nations, and that the Danes continued to work in flints at a time when many of their neighbours were already acquainted with bronze weapons. The alluvial soils in which great quantities of these beautiful weapons have been found (in the so-called Kiokkenmoedinge or kitchen-refuse heaps), appear to show that their manufacture is later than that of the weapons from the lake dwellings in Switzerland, Savoy, and Baden, which have yielded us no bronze weapons, and that the Danish flints are probably not of earlier origin than the lake dwellings of ISToveto, Castiana, and Peschiera, which date from the bronze age. Even when taking note of the more or less rapid march of civilisation in each country, it is difficult to fix the priority of one people over another in the construction of these primitive weapons ; where everything is plunged in ob- scurity, and when new excavations from time to time over- throw what preceding ones have established, we can only argue from hypothesis. In England, likewise, these weapons have always been found in alluvial soils ; but the hatchets in chipped or rough flint of the Christy collection of London, mentioned in the preceding chapter, may possibly date farther back than the fourth geological epoch. As the modern weapons of savage nations do not enter into the scheme of this work, the flint ones likewise must of necessity be passed over, even when ancient, for the modern construction of savage nations is just what it was in the bygone centuries. The author has nevertheless made an exception in favour of Mexico, because the Mexican arms which have been here represented are no longer made. It is very difficult to establish exact demarcations between the times when nations made use of rough flint weapons, and the times when these weapons were in polished flint or bronze, for two of these products, and even all three, have been found mingled together. Weapons in Polished Flint. 81 The excavations made in the cemetery of Hallstatt have in fact furnished proof that iron was not unknown in Germany, even when flint and bronze were still the usual materials for cutting weapons. In the chapter which treats of the products of the so-called iron age will be seen some representations of dagger-points in iron, found in the tombs of HaUstatt along with weapons in bronze and flint. 82 Weapons m 30 31 36 39 30. German wedge, amulet, or talis- man in serpentine (1 inch). Author's Collection. 31. German hatchet in serpentine (9 inches), found at Gensen- heim, near Mayence. Christy Collection. London. 32. German double hatchet, of greenish touchstone (6 inches), found at Hildesheim. Christy Collection. London. 33. German hammer - hatchet, in granite (6 inches), found at Mecklenburg. Christy Collection. London. 34. German hammer - hatchet, in serpentine (6 inches), found at Kaufbeuren. National Museum of Bavaria at MunicJi. 35. German hatchet, serpentine (6 inches), found at Enus, near Lintz, with bronze and iron weapons. Museum Francisco-Cardlinvm at Lintz. 36. Fragment of German hatchet, serpentine (8 inches), found with bronze and iron weapons in the tombs of Hallstatt. Museum of Antiquities at Vienna. 37. British double-headed hatchet, basalt {il inches). Christy Collection. London. 38. Large Kelto-Galho hatchet, jade (16 inches). Museum of Vanrm. 39. Small Kelto-GalHo hatchet, in- serpentine granite (3i inches), ' found in the Nivernais. Author's Colteetian Polished Flint. 83 40. Kelto-Swiss hatchet, serpentine, fixed into a stag's horn, and with a ■wooden handle, found in a Swiss lacustrine dwelling. Museum of Zurich. 41. Kelto-Swiss hatchet, serpentine, ■with long wooden handle, found at Botenhausen. Mitseum of Zurich. 42. Danish hatchet, basalt (5^ inches). Museum of Copenhagen. 43. War hammer, Danish basalt (5 inches). Museum of Copenhagen. 44. Danish double-edged hatchet, basalt (8j incbes). Museum of Copenhagen. 45. Double-edged Danish hatchet, basalt (5 inches). Museum of Copenhagen. 46. Double-edged Danish hatchet, basalt (8 J inches). Museum of Copenhagen. 47. Danish single hatchet, called Niolner, in basalt (9 inches), found in a tomb on the coast of Scotland. The Niolner is an attribute of the Scandi- navian god Thor, and is often mentioned in the Sagas. Meyrich CoUecHon. 48. Iberian or Spanish hatchet in basalt (7i inches). Christy CoUeetion. London. 4.8. 84 Weapons in Polished Flint. 49. Fragment of a Hungarian hatchet, in basalt (7i inches). Christy Collection. London, 50. Russian -war-hamnier in black stone (llj inches). Museum of St. Petersburg. There is a cast of it at the Museum of St. Germain. 51. Mexican sword of the 15th century, of iron wood, with ten blades, fixed into the wood, of black obsidian.* This weapon is 25 inches long. .",2. Mexican sword of 1 metre, 8 inches long, in iron wood and black obsidian. Museum of Berlin, 53. Mexican spear-head of the 15th century, black obsidian, fixed in a wooden handle. * Obsidian is a volcanic production, of a greenish black, with an enamelled- looking surface, and capable of taking a high polish. The Peruvian Incaa employed it for min-ors, and the priests of HuitzUopoohtli for ornaments. It is not the only stone made use of by the ancient inhabitants of America for their weapons; they used also flmt, chaloe- dony, and serpentine. 86 ni. ANCIENT WEAPONS OP THE AGES OF BEONZE AND IRON. ■WEAPONS FEOM INDIA, AMERICA, OHALDJBA, BABYLON, AS8TEIA, MEDIA AND PBESIA, EGYPT, QEEBOE, ETKTJEIA, EOMB, SAMNIUM, ETC. THE ctanges in the weapons of the ancients, including in this term the five great Assyrian monarchies, who appear rather to have given the model of their arms to the Egyptians and Greeks than to have borrowed from them, have been explained in the historical chapter, pages 17 to 74. We have seen that even in times of the greatest antiquity iron and bronze were employed indistinctively for the manufacture of offensive and defensive weapons, so that the establishment of a veritable Age of Bronze and Age of Iron is inadmissible. If these terms have been preserved in the chapter which speaks of the weapons of northern nations, it is from fear of creating confusion of ideas by a new, though more correct, method of classification ; but the author has only acted thus after having entered his protest, and ex- plained in what manner the conventional denominations were to be understood. Few arms and weapons and few docmnents of the Hindoo, American, Assyrian, Persian, and Egyptian nations have reached us, and it has been found necessary to study the military equipment of these countries almost entirely from their monuments. Our museums are much richer in Greek and Eoman arms, which enable us to follow the changes of armour on classic soil during a number of centuries. The American weapons have been placed after those of India, for everything tends to show that the lost civilisations of America have even preceded those of a great part ci India^ 86 Weapons of and probably those of the countries we have been in the habit of calling classic. The Keramic wares of the heroic age of America, among which may be counted some products of Palenque and Mitla, show, even in their state of artistic decline, to what height the worship of pure outline and ornament, so visible in EgyptiajQ, Assyrian, and Greek art, had been carried by a people whose very shadow has disappeared from the field of history. The Louvre possesses one of these ancient pieces of Transatlantic pottery, the design of which recalls the decora- tion of ancient Etruscan vases, and classic mythology ; it is a Hercules defeating his antagonist ; and many specimens of American keramic ware are known, the classic ornaments of which show an equally incontestable priority. The moiie remote the date of these antique products, the more their workmanship resembles Greek art, insomuch that the least ancient are always the least artistic ; a fact which authorises us to draw the conclusion of an ancient American civilisation since declined, but whose most flourishing epoch was two and even three thousand years before Jesus Christ. See the historical chapter. Nothing has been found to throw any light on the arms of the ancient civilisation of this country, whose history goes back to B.C. 3000. The figures here represented indicate that Hindoo armour has varied but little in the matter of ofiensive weapons, and that the helmet alone betokens a decided change, which appears to have manifested itself from the fourteenth and fifteenth centuries of this present era, as will be seen in the chapter which treats of Western weapons of the Christian Middle Ages. Bronze an I Iro 1. Hiiidoo warriors, from granite me- morial stones of Beenjanugar. of which the Kensington Mu- seum possesses photographs. The date of these monxunenta corresponds with our Middle Ages. It will be seen that the sword is placed on the right side of the warrior. The Assyrians and all modem nations wore it on the left, while the Greeks and Eomans wore it on the right. The engraving of this has-relief is reversed, so that the com- batants appear to hold their spears in their left hands, and their shields in their right. 2. Hindoo hatchet, from an Indian piece of sculpture in the city of Saitron in Eajpootana. (A.r. 1100.) Kensington Museum. 3. Hindoo aahre from a bas-relief of Beenjanugar and the Husso- man monument. 4. Javanese sword, from the statue of the Goddess of War at the Museum of Berlin. 88 AMEHIOAN WEAPONS. It has been observed in the historical chapter that the people of America never employed either bronze or iron in the construction of their offensive weapons, and that the European conquerors found only pure stone in request for all cutting weapons. In regard to those of defence, they were manufactured in bronze, gold, mother-of-pearl, horn, wood, and leather ; and traces have been found of different arms, the origin of which is lost in antiquity. Such is the helmet engraved further on, from a stucco bas-relief in the ruins of Palanque, or city of Culhuacan,* the circumference of which was about eighteen miles. This city was situated in the state of Chiapa, in the northern part of Central America, where the cradle of the most ancient American civilisation, now extinct, was placed — a civilisation which may easily have been contemporaneous with, if not anterior to, that of India. The helmet of the bas-relief of Hoohicalco, though less ancient, still belongs to a remote period, when the horse, in- troduced by European navigators, was as yet unknovm. As the American weapons of the period corresponding to the Christian Middle Ages are few and insignificant, they have been placed at the end of the chapter which treats of polished stone weapons, and not in the place where the weapons of a time prior to the Merovingian epoch are mentioned. These American arms, as we have seen, are generally of wood edged with obsidian. * Palanqui, or Culhuaoan, or Huehuetlapatl'aa, was discovered only in 1787, by Antonio del Eio, and Jose Alonzo Calderon. American Weap^ = 6. Sword-breaker, from Denon'-swork. 7. Egyptian quivers, id. S. Egyptian hatchet, id. '■ ' sword, id. scimitar, id. f= 11 11. „ dart, sling id. id. 13. Unknown weapon, id. 14. Unknown weapon, id. 15. Hatchet, from bas-reliefs of Thebes. 16. Scorpion or whip-goad, id. The size of these weapons could not be given, but they appear to be from 25 to 27 inches long. They were probably in bronze and iron. Egyftian Weapons. 17. Egyptian wedge or hatehet, bronze (4 inches). Museum of Berlin. IS. Egyptian knife or lance-head, Iron (6 inches). Museum of Berlin, 19. Shop or khop, an Egyptian iron weapon (6 inches). Museum of Berlin. It may be seen, a little enlarged, on the gr.jup of Seti- Menephthah vanquishing Tahen- nub, of the I8th dynasty (b.o. 1990), at the British Museum. 20. Egyptian lance-head, bronze (lOJ inches). Louvre. 21. Egyptian poignard, bronze. The handle is iixed upon a wooden core. 22. Egyptian hatchet, bronze, of I inches, bound with thongs to a wooden handle of ISJ inches. British Museum. 23. Egyptian hatchet, bronze (4J inches), fixed intoawoodeu handle of 16| inches. Louvre. 24. Bronze dagger (14 inches). This weapon has, however, a Greek character. Louvre. 25. Egyptian poignard, bronze (11 J inches), found at Thebes, and drawn in M. Prisse d'Avennes' work. The handle is in horn. 26. Egyptian poignard and sheath, broiize, 1 foot in length. The handle is of ivory, ornamented with studs in gilded bronze. Mvxeum of Berlin, lOS 17 ^=3 106 GEEEK AND ETEUSCAN AEMOUR. To facilitate research, tliis chapter will contain a summary of what has already been said in the historical chapter on Greek and Etruscan armour. The offensive and defensive weapons of Greece in the time of Homer (b.o. 1000) were for the most part in bronze, a few for purposes of defence being in leather, though iron was as well known in Greece as in Egypt and Assyria. Defen- sive armour was composed of a cuirass or corslet (with breast and back plates, each made of a single piece or shell), of the helmet, of the large round conves shield, and the KvrjixiSes, greaves or defensive leggings.* The offensive weapons were the cut-and-thrust sword, straight-bladed, more or less long, double-edged, with a slender point and square sheath, which was worn on the right side. The lance was from eleven to fifteen feet long, with a broad, long, and pointed head, rounded towards the socket, and with a cross-piece bevelled, and strongest towards the centre. This weapon served either for thrusting or throwing. The javelin with its amentum (a strap fixed to the centre of gravity of the javelin) was a kind of long arrow or dart, which the warrior threw from his hand, and which we find amongst the Germans and Eomans ; and lastly, the bow and arrows. The Greeks had at first no cavalry, nor had they even a term to indicate the action of mounting on horseback, for which, even in French, a proper verb does not exist, for the expression " chevaucher " means rather to stroll (Jidner) on horsebackt * The different coverings for the feet among the Greeks were, the sandal, worn by the men ; the persica, worn by tlie women, particularly by the hetairie; the crepida, the iron-shod shoe of tlie philosophers and soldiers, which did not cover the whole of the foot ; and the garhatinc, belonging to the peasant. There were also the cothurnus, and the buskin. The first was the foot covering of the tragic actors, to appear taller when they acted heroes. Ligatures, fastened to the sole, which was generally of cork, became narrower, as in the modern skate, and passed between the first and second toe. It was also worn by kings and people of the higher classes. The buskin was particularly suited to comic actors ; it was a kind of boot laced up the front, and generally coming up Ijigher than the ankle. An antir[U6 statue of Diana in the Museo Pio-Clementino, and many other statues, wear the buskin. t This assertion seems hardly admissible, in the face of the words iirt^e^rjKiia, mounted [ec. on horseback), and 'nrireiai/, to rido.— Teanslatok's Note. Greek and Etruscan Armour. 107 Later, about b.o. 400, bodies of slingers and horsemen were added to their armies. As to the Etruscan arms, they may be divided into three categories : those constructed when Phoenician influences pre- vailed (Asiatic weapons), and which appear anterior even to Greek civilisation ; those of the epoch of the end of the Trojan war, and which are perfectly identical with Greek weapons ; and lastly those of the Latin time, a little while before the conquest of Etruria by the Eomans. Greek weapons have necessarily been classed with Etruscan ones, of which few or none of the first period exist ; to class them separately would have been impracticable. Greelc and Etrusean Armour. 1. Greek combatants, horn a painted vase in the Louvre. The war- riors are armed with casques, breastplates, and bucklers, but wear no leggings. The lance and sword constitute the ofleu- sive weapons. 2. Greek casque called "kataityx," probably in leather, of the 8th century B.a, copied from a bronze statuette of Diomed. This casque has no crest, but has a chin strap, and appears to indicate well the primitive form of casques. Etruscan casque in bronze, said to belong to tlie first period, C. 1, " Muse'e d'Artillerie de Paris." A similar casque has, however, been found in the German cemetery of Hallstatt, whose tombs do not date farther than the Christian era. Etruscan casque in bronze, pre- served in the Louvre. This one is also attributed to archaic times. Similar examples are to be found in the " Muse'e d'Artillerie de Paris" (C. 2), in tlie Museums of Berlin, Turin (No. 310), of Mayenoe (No. 380), and in the Tower of London Q). Greek and Etruscan Armour. Bronze casque from tlie Museum of St. Germain, attributed to the XJmbrians* One similar lias been found in the German tombs of Hallatatt, and ex- liibited in the Cabinet of Anti- quities at Vienna, and another found at Steingaden, in Ba- varia, is in the museum at Augsburg. Etruscan casque in bronze with long antennee. Fac-similes to be seen in the Artillery Museum, Paris (0. 12.), in the Museum at Mayence, and in the Cabinet of Medals at Paris. The Louvre possesses a similar specimen, but in gold. The antennse (from the Latin "ante," before, and " fixus," fixed) are so called from their shape, which resem- bles the yards of ships. Archaic Etruscan bronze casque. A figured vizor may be re- marked, which calls to mind the movable vizors of the Christian Middle Ages. British Museum. 8. Greek casques in bronze, with inscriptions. 8 British Museum. * The XJmbrians or Umbri were' of the Gallic race, and were allies of the Etruscans, B.C. 311 — 307. Con- trary to the opinion of some modem liistorians, I believe that this people was a less ancient one than the Etruscan race. 110 Oreelc and Etruscan Armour. 9. Greek casque of a "hoplites,'' or heavy-armed foot-soldier, in bronze, copied from a statue of that time. Similar examples are to be seen in the armouries of Turin (341), Ber- lin, Mayence, Goodrich Court, and the Artillery Museum, Paris. A similar object, in the British Muteum, is engra-ped with a Greek inscription. The Venetian salades of the fifteenth century resemble in style this helmet. One hke it in every respect has been found at Steingaden, near Hohenschwanga, in Bavaria : it is now in the Augsburg Museum. 10. Greek casque in bronze. Arsenal of Turin. No. 342, 11. Greek casque in bronze. No. 3176, Museum of Mayence. It is an admirable piece of workmanship, the reliefs representing a combat of two bulls ; it has antennse, and is sui'mounted with a crest-holder. 12. Greek casque from a painted vase, said to be Etruscan, in the Louvre. This is the perfect Greek classic casque, which we see in so many sculptures : not a single specimen, however, lias descended to us.* * Singularly enough, two New Zealand casques of twisted vegetable fibre, in the Meyrick Collection, now exhibiting at South Kensington, are ot this pure Greek type. — Teanslatok's Note. GreeJc and Etruscan Armour. Ill 13. Greek casque from the paintings on a vase said to be Etruscan, in the Louvre Museum ; it is of a rare and artistic shape. The crest holder, which re- presents a kind of eagle, ap- pears to he ornamented witli horsehair. 14. Greek casque from an antique statue ; the crest is ornamented with horsehair out short, and the head-piece shows fine em- bossed workmanship.. J 3. Crest of a Greek casque in bronze, found in a tomb. 0. 13, Museum of Artillery, Paris. Observe the likeness to Assyrian crest, No. 32, page 98. 16. Greek casque with neck cover- ing, in bronze. 0. 6, Museum of Artillery, Paris. This helmet appears to have be- longed to a horseman of the decadence period. 17. Greek casque with chin-strap in bronze. C. 8, Mussum of Artillery, Paris. 112 Greeh and Etrusoan Armour. 18. Greek helmet with neck-cover- ing and plume-holder, belong- ing to a horseman. C. 1, Museum of Artillery, Paris; this helmet belongs to the period of decadence. 19. Etrusoan breastplate in bronze, made in one shell, and showing in relief the human shape. It comes from an Etruscan tomb, and is now in the Museum of Carlsruhe. The Museum of Artillery at Paris possesses a cast of it. 0. 17. Greek corslet composed of two pieces, back and breast plate, in bronze, found in the en- virons of Naples. C. 13, Mu- seum of Artillery, Paris. Greek arm-guard in bronze. Collection of M. Bonstellen, near Berne, Switzerland. 22. Greek belt in bronze, belonging to a soldier or gladiator (1 foot in length), furnished with hooks. 0. 15, Museum or Artillery, Paris, and No. 372, Museum of Mayence. Greek, and Etrus an Ay lie 23. Etruscan buckler, 3 feet in diameter ; found in a tomb. The hammered and chased work which fills the circles is of a remarkable character ; the style is Asiatic-Piioenician, and indicates that the article belonged to the first Etruscan period. This shield belongs to the British Museum, and a cast is to be seen in the Museum of Artillery, Paris. No. C. 9. 24, Etruscan buckler, in bronze, 17 inches iii~3iametcr. The en- graving is of the interior of the shield. It was discovered in a tomb, and is now in the Museum of Mayence. The Museum of Artillery at Paris possesses a cast of it. No. C. 10. 25. Boss of Greek shield.* It mea- sures 10 J inches, and was found in the environs of Mayence, in which city it is exhibited. The Museum of Artillery at Paris possesses a cast of it. No. C. 22. * The Greek buckler had two handles, one in the centre, through which the arm passed, and one at the edge for the hand. In addition to this there was a leathern strap to hang the shield round the neck. 1 4 Qreeh and Etruscan Armour. 26. Greave of Greek horseman, bronze (ISJ inclies). Museum of Artillery at Paris, C. 22. The back of the leg is not protected. 27. Greave of Etruscan horseman, bronze (21 inches). It was found in a tomb. Museum of Carlsruhe. The Museum of Mayence possesses a similar one, and the Museum of Ar- tillery at Paris a oast. No. C. 16. The knee-cap represents the head of a lion. The back of the leg ia not protected. 2S. Etruscan poitrinal ''barde," in bronze, to protect the horse's breast. Museums of Carlsruhe, Mayence, and a cast, No. C. 15, Museum of Artilleiy, Paris. 29. Etruscan chamfront, or frontal plate for a horse's head, in bronze. The numbers 27, 28, and 29, appear to have be- longed to the same suit of horseman's armour. Museums of Carlsruhe, Mayence, and a cast, No. C. 18, Musemn of Artillery, Paris. Greeh and Etruscan Armour. 115 30. Greek sword, in bronze (19J inches). No. 348, Mmeum of Mayence. 31. Greek sword, in bronze (82 inches). C. 18, Mmeum of Artillery, Paris. 32. Greek sword, called Gallo- Greek (25 inches), with its sheath, both in bronze, found in the department of TJze's. B. 19, Museum, of Artillery, Paris. 33. Bronze lance-head, probably 1 ? Greek, found in a peat moss near Abbeville (Somme). B. 23, Museum of Artillery, Paris. The Museum of Mayence possesses a simi- lar lance-head. No. 349. 34. Antique dagger, in bronze, 1 called '• parazonium," com- mon to the Greeks and Eomans. 16| inches long. Museum of Artillery, Paris. 35. Greek (?) hatchet, in bronze. Museum of Berlin. 36. Greek or Etruscan mace- head, covered with points, found in the ancient king- dom of Naples. Museums of Berlin, Saint Ger- main, and Artillery, Paris. 37. Greek spur, in bronze, found in the ancient kingdom of Naples. Museum of Artillery, Paris. 38. Antique spur, in bronze, probably Greek. Museum of Artillery, Paris. 116 Greek, and Etruscan Armour. 1. "Hoplites." regular soldier, armed with the trefoil-shaped buckler, from the treatise of M. Roflios. Eni nOAEMlKHS TEXNH2,. Athens, 1868. This soldier is interesting on account of the helmet of Etruscan shape, and the shield like a thiee-lobed leaf. 2. Coat of mail. It will be seen that the sword is worn on the right side. 3. Leaden bolt of Greek cata- pult, engraved with the word AEHAI, receive. 4. Hand arbalest, or halista, a weapon much like the cross- bow of the Middle Ages, copied from the work of M. Eodios, who constructed it after a Byzantine test. It is doubtful, however, whether such a portable balisf a, or arbalest, was really used in ancient Greece, 5. Battering ram with protecting cover, on wheels, called a " tortoise," from M. Eodios' work. 117 ROMAN, SAMNITE, AKD DACIAN ARMS IN BEONZE AND IN IRON. As in the preceding chapter we have treated of the Greek equipment, in the present we have given a summary of Eoman equipment, which in the earliest epochs was most probably the same as that of Etruria, a country where it had been established by the combined influence of the Phoenicians and Greeks. Polybius, who was born in the year 552 after the founda- tion of Eome, or 202 b.o. (nearly three hundred years after the conquest of Etruria by the Eomans), and who is the earliest author who has aescribed the offensive and defensive arms of the Eomans, speaks only of those of his own time. The description given by this contemporary of Scipio Africanus, added to some slight information afforded us by sculptures on or in tombs on the borders of the Ehine in Germany, and by the columns of Trajan and Antoninus, is nearly all that is known on this subject. But from the works ascribed to Homer we have much fuller information concerning the arms used by the Greeks in the tenth and even in the thirteenth century, B.C., the epoch of the siege of Troy, than concerning those by the aid of which the mighty Eoman people conquered the ■world. It is very probable that the Eomans, in common with the Greeks and Etruscans, at first used only bronze for their weapons, but in the time of Polybius this metal was restricted to helmets, breastplates, and other portions of their armour; all offensive weapons, such as bows, swords, and lances, were always either made entirely of or tipped with iron, while the Gauls at that time still employed bronze. The Eoman army was composed of three divisions of soldiers : the velites, or foot-soldiers, who were lightly armed ; hastarii, or legionary foot soldiers, and cavalry. The first were armed with seven light javelins, the shaft of which was about three feet in length, and the iron head about nine inches, with a sword, and a small round or oval shield, called parma,'^ about three feet in circumference. * This was the class of shield worn by gladiators. 118 Roman, Samnite, The helmet, which was usually made with cheek-pieces, had neither crest nor horsehair, though it was sometimes ornamented with wolf's skin. The hastarius, or legionary soldier, was protected by an iron or leathern helmet, ornamented with three scarlet and black feathers, by greaves or leggings (ocreos),* and by a breastplate or cuirass, composed of a corslet and shoulder- pieces, the whole made of bronze. He also had a largo shield called a scutum, of a rectangular and convex shape, made of wood, skin, and iron, about four feet long by two and a half feet broad, and covered with plates of iron. For offensive weapons he carried an iron Iberian sword, which was always worn on the right side, as in Greece ; though the Assyrians, the Hindoos, the ancient Americans, the Persians, and the Egyptians always wore it on the left side, as at the present day. The hastarius, besides the above weapon, had two javelins, one of which was the famous legionary pilum, which we find later in use among the Franks. The Eoman slinger was armed with a sling similar to the one used by the Achseans. The Koman cavalry in the time of Polybius were equipped like the Greek. Before that time they had no defence except a round, oval, or hexagonal shield made of ox-hide; but subsequently the armour was changed and made stronger and better fitted to resist the attacks of barbarians. In the time of Trajan and of Septimius Severus, the horseman wore a flexible cuirass or squamata, made of scales of iron or bronze sewed on linen or leather ; or a Jiamata, made of metal chains, being in fact a sort of mail-coat. On the column of Trajan are represented many soldiers wearing cuirasses made neither of scales nor of chain mail, but of long pieces of metal similar to the armour of the Middle Ages ; and the bas-reliefs on this monument show that there was as much variety in the equipment of their different bodies of troops at that time as there is now-a-days. The armour of the centurion was more elaborate than that * The foot-coverings of the Romans, like those of the Greeks, were various. Tlje soUa, or sandal, a sole of wood or leather attached by straps ; the calceus, or shoe of civil life ; the ocress mentioned in the text, and the soUa lignna, the wooden shoe of the poor. The boot, derived from the Keltic hot (foot), was unknowu to all ancient peoples. and Dacian Arms. 119 of the simple hastarius : his corslet had shoulder-pieces fixed to it, and was loiig enough to cover his thighs. It was very often ornamented with silver phalerse, which served as marks of distinction and military rewards at that time. Some of these are represented on page 120. and Dacian Arms. 121 1 A Roman soldier, a veles, or auxiliary soldier, from a tombstone found in the Rhine, and now in the Jlusieum at Mayenee ; a cast of it is in the Museum of Artillery at Paris. Tiiis soldier is armed with two long javelins about the same height as liimself, witli a sword •worn on the right side, and with a parazonium or dagger on the left. The only defensive armour he has is a small apron made of straps of leather studded with pieces of metal. 2. A Eoman legionary soldier (hastarius), back view. This figure is taken from the bas-reliefs on the Tiajan column, erected by Trajan three years before his death, 114 a.d. On it are represented in particular his exploits in the wars against the Dacians (103-104), wars which were ended by the conquest of Dacia Trajana (now Moldavia, Wallachia, Transylvania, and the north-east of Hungary). The cuirass is made of thin plates of metal. 3. The same, front view. 4. Eoman horseman, from the Trajan column. He wears the squamata, or shirt, made of metal chain armour, a species of coat of mail ; an oval shield, a helmet with a ring and chin strap, and a sword on the right side. 5. Bust of a Eoman legionary soldier, from the Trajan column. He wears a crested helmet. 6. Head of a hastarius belonging to another legion, from the Trajan column. 7. Head of a hastarius of another legion, from the Trajan column. 8. Head of a hastarius belonging to another legion, from the Trajan column. 9. Cuirass of a Eoman centurion, about 22 inchrs in length. It is ornamented with nine silver plialejse, or military distinctions, and is in the possession of King William I. of Prussia. There is a cast of it in the Museum of Artillery in Paris. A centurion belonging to the legion of Varus (who was defeated by the Germans, a.d. 9), represented on a tombstone that is now in the Museum at Mayenee, has the same kind of cuii ass. 10. Bronze scales of a squamata, or Eoman cuirass. They are copied from those found at Avenche, the ancient Aventicum, cipital of Eoman Switzerland, which was known of in the time of Julius Csesar, and was subsequently very much improved by Vespasian. Some of its remains are in the Museum at Avenche. The author has in his own collection several other fragments of Eoman arms in bronze, from the ruins of Aventicum. 11. Eoman helmet, in bronze. It was dug up in the field where the battle of Cannae took place, B.C. 216, and given by the Superior of an Augustine Convent to Pope Ganganelli. This helmet is now in the Castle d'Erbach in Hesse-Darmstadt, but it is not known how it came there. No. 379, in the Museum at Mayenee, and No. D. ] , in the Museum of Artillery at Paris, are helmets similar to the above. 122 Boman, Samnite, 12. Samnite helmet, iu bronze, found at Isemia, in an- cient Samnium. Tliia helmet is in the Erbaeh collection, and dates as early as the second Samnite ■war (B.C. 327-324). A gilded Japanese helmet of similar shape is in the Museum of Artillery at Paris. 18 and 14. Two Eoman helmets, from the Trajan column. No. 14 resembles a helmet copied from the Theodo- sian column, spoken of later, in the chapter on the iron age. 15. Eoman helmet, in iron, about 1 foot in height. It is orna- mented with bronze, and dates from the time of the decline of the empire. It is one of the most curious of that age. The face is almost entirely covered by a sort of mask. It is in the Museum of Artillery in Paris. D. 29. \^ 16. Eoman gladiator's helmet. ^ from the Pourtales collec- ^\ tion. The face is entirely \\ protected by a fixed vizor, ^■^"^^^ ^ pierced all over with round ^a^ g\ holes. This sort of helmet y/fS^ t. came into use iu the 16th ^M~~~ century of our era. Now in the Museum of St. ?R Germain. 17. Eoman telmet, found at Pompeii. Museum of Artillery in Paris. 18. Dacian sword, from the Trajan column, erected by Trajan three years before liis death, in the year 114. The Dacians were the people who inhabited Moldavia, Wallachia, and Trausylvania, and the north - east of Hungary. They fought bareheaded, and had only a shield for defensive armom-. 19. Eoman war-hatchet, in iron. From the Collegia Romano at Rome. 20. 21. Eoman sword of iron worn with belt, called parazonium, 10 inches in length ; and its sheath made of bronze. A cast of this wi apon (which was found in Germany ) is now in the Museum of ArtiUery in Paris. D. 20. 22. Iron head of Roman javelin, 6 inches long. From the Museum at Mayence. 23. Iron head of Eoman (?) jave- lin, 1 1 inches long. From the Museum at Mayence. 236is. IronheiidofEoman;pj7um. 24. Roman (?) bill, in bronze, found iu Ireland. ^ Tower of London. 25. Roman bill, in iron, from the ruins of Psestum, on the coast of Lucania. 0. 2, Museum of Artillery iu Paris. This weapon, which is also found on Assyrian sculpture, is not the harpe (apiTTi) or scimetar of the Greeks, which was a sort of sword, with a sharp hook projecting from the cutting edge of th e weapon — a wea- pon with whicli Mercury is represented killing Argus, Perseus, when cutting off Medusa's head, and which the gladiators often used. and Dacian Arms. found 123 Roman, Samnite, 26. Roman sword, in iron, 26 inches in *5 length. Tlie hilt is ornamented with bronze.* It was found at Bingen. Colleetion of Ihe Burgomaster Sollen. 27. Eoman sword, in iron, 23 inches in length. Sollen Collection, 28. Eoman sword, in iron, 25 inches in length. The armourer's mark is Sabini. A cast of it is in the Museum of Artillery, Paris. D. 13. 29. Eoman sword, in iron, 22 inches in length, found at Bingen. Sollen Collection. 30. Eoman sword-blade, in iron, 19 inches in length, found at May- enee. D. 14, Museum of Artillery, Paris, 31. Eoman spur, in bronze, found at Salburg, near Homburg, by the Keeper of the Archives, Habel. 32. Eoman spur, in iron. D. 43, Museum of Artillery, Paris, 33. Eoman caltrop of iron (Itameus ferreus) : it is pointed at both ends. Museum of Artillery, Paris, 34. Eoman horse-shoe, that was fastened to the hook of the horse by means of a strap passed through the ring of the shoe. D. 12, Museum of Artillery, Paris; Museums at Avenche (Aventicum). These horse-shoes have been found in Switzerland, and at Lintz, in Austi-ia. * A scabbard dug up at Mayence, now in the British Museum, bears a portrait of Augustus, and a group o( Thibenius offering to the emperor a statue of Victory. and Baeiafi Arms. 125 35. Signum, or badge, of Roraac cohort, in bronze, found in Asia Minor. This is a most beautiful piece of w irk, and must have been designed by a Greek artist. D. 3, Museum of Artillery, Paris. 36. Poniard, or short sword, in bronze, found in a lake dwelling at Pesohiera. Cabinet of Antiquities at Vienna. 37. Plain war-hatchet, in bronze, found in the old kingdom of Naples. Its shape shows that it was a weapon, and not an implement of hus- bandly or carpentry. B. 36, Museum of Artillery in Paris. 38. Plain war-hatchet, in bronze, found at Naples. These two last weapons may very likely have been of an earher date. B. 37, Mmeum of Artillery, Paris, 126 Roman, Samnite, and Dacian Arms. With regard to the machines of war that have been already mentioned in a former chapter, there is not one existing in its original shape ; and the balistas and catapults which have been restored from drawings ought not to figure in a work which is devoted exclusively to the history of such arms as are based upon authentic documentary evidence. 127 IV. WEAPONS OF THE BRONZE AGE. THE Keltic tribes, who occupied most probably a large portion of Central Europe, and also some of the northern districts, have left weapons that are not easily distinguished from those of contemporary and later races. The names of Galatian and Gaul are often confounded with that of Kelt, and even of German. Where everything is involved in obscurity it is hazardous to attempt to establish exact limits and periods for the weapons of the bronze age ; it is safer to treat of them under one category, as we are often obliged to do when dealing with matters be- longing to pre-historio times. We should never be able to classify satisfactorily the so- called Keltic productions ; the Scandinavian, Germanic, and Gallic elements are manifest everywhere, and those who have wished to assign the tombs discovered in these different countries to races of well-distinguished origin have constantly had their arguments disproved by fresh discoveries. The author has been careful to separate only the weapons coming from different places, and to classify them into countries according to the languages there spoken, so that weapons of bronze, possibly Keltico-Gallic, Keltico-Germanic, Keltico-Britannic, Scandinavian, &c., which are so often confounded with the bronze weapons of our era down to what is called the age of iron, have been included under one head and described seriatim. The iron celt in the national Museum at Munich, the stone hatchets and the long iron lance-heads similar to the celts found, together with a quantity of weapons and of bronze and gold ornaments, in the cemetery at HaUstatt, show that it is not possible to discriminate exactly between the bronze, stone, and iron ages. The excavations that have been made in this cemetery not only show that stone was used at the same time as bronze 128 Weapons of the Bronze A(/e. and iron, but even that iron was used for the sword-blades and bronze for hilts, just as at the present day. Uallstatt is situated near Ischl, in Austria. The cabinet of antiquities in Vienna possesses a large quantity of utensils, weapons, and ornaments that have been found amongst the ruins of the said cemetery ; and M. Az, at Linz, has some very remarkable objects from the same place. As these ruins have been per- fectly described by M. de Sacken in his Grdbfeld von Mallstatt, written in 1868, it would be useless to describe them again. There does not exist a single piece of sculpture that represents a Germanic warrior thoroughly equipped, but it is well known that his equipment varied in different countries. The shield used by the Germans of the north was very large, covered with thin plates of copper, and without a boss, though in the Frankish tombs belonging to the end of the iron age (Merovingian) small round shields with projecting bosses were discovered. And what is even more remarkable is that these same kind of shields were used by the Danes during the bronze age, and perhaps also by other Scandinavian nations, and by the Britons. Bronze was used in the manufacture of weapons by the Scandinavians and the Britons at the same time as by the Germans and the Gauls. It will be seen in the following chapter, which treats of the weapons of the iron age, that the shape of the battle-axes of the Franks differed from that adopted by the Saxons. Germanic Arms m Bronze. 129 1. German helmet in bronze, Ibimd iu one of the tomlis at Hallstatt, in Austria. This double- crested helmet is very like one in the Museum at St. Germain, ■which is said to he either Etruscan or Umbriau. Cabinet of Antiquities in Vienna. 2. German helmet in bronze, which was also found in Hallstatt cemetery. Cabinet of Anti- quities in Vienna. These two helmets may veiy likely have been made in Italy, though found iu Germany, for their shape is Etruscan. 3. German helmet in bronze, about three andahalf inches inhcight ; found at Britsch, near Pforton, Saxony, and now in tlie Klemrii collection at Dresden. It is an unique specimen, and the shape is similar to that of the Assyrian helmets in the British Museum. 4. Gci-man arm-guard in bronze, found at Winnsbach, near Lintz, in Austria; now in the Museum at Lintz. Similar arm-guards have been found iu Denmark. (See No. 261, Mu- seum of Copenhagen.) 5. German arm-guard in bronze, found in the principality of Hohenzollern, and preserved in the Museum at Sigmaringcn. A similar specimen in the jMaximilian Museum at Augs- burg. 130 Germanic Arms in Bronze. 6. Fragment of a large square Ger- man shield in wood covered with bronze. Found in a tomb at Waldhausen, and published by M. C. Eath at Tubingen. In the Museum at Munich there are fragments of a German cuirass, ornamented in the same way, with copper, as this shield. 7. German shield. Same as above* 8. Celt, German, 51 inches long; found in the cemetery, Hall- statt. M. Az' Collection at Liniz. 0. Celt, German (said to be Keltic) found at Stade. Museum at Hanover. JO. Celt, German, 4 inches long. Found in the principality of HohenzoUern, and preserved iu the Museum of Sigma- ringen. 11. Celt, German, 6 inches long. Museum of Sigmariiigen. 12. Celt, German, CJ inches long. Museum of Sigmaringen. 13. Seven German arrow-licads. Museum of Sigmaringen. " The size and shape of these shields indiciite a period . nterior to the Eoman influence, which inalces itself felt in the circular Prankish bucklers of the Mero- vingian epoch. Germanic Arms in Bronze. 131 14. German hatchet in bronze, lOJ inches long. Found in the Palatinate, and preseryed in National Museum of Munich. 15. Celt, German, in bronze, 8^ inches long. The Abyssiniau lances at the present day are omarclented witli these chisel- edged blades (see chapter on lances). Museum of Cassel. 16. Celt, German. Museums of Cassel and ErJiach. 17. German hatchet in bronze, 12 inches long. Found in the Hallstatt cemetery. This weapon resembles in its orna- ment those of Denmark. Cabinet of Antiquities at Vienna. 18. German war-hammer in bronze (about 18 inches), found at Thuringen. The handle ia ornamented with 9 rings, formed of 6 Unes each. The ornament of this weapon is ^^ also like Danish work. v*^ Klemm Collection at Dresden, ' ' 19 to 22. Four German daggers or poniards. Musef.m at Sigmaringen. 132 Germanic Arms in Bronze. 23. German sword in bionze, 22 iuclies long. The pomrael is ornamented with an eagle's head. This sword is made entirely of metal. Museum of Casael. 24. German sword, 27 inches long, found near Augsburg. The flat part of the hilt is pierced with holes, which shows that the handle must have been mounted in either wood, bone, horn, or metal. Museum of Sigmaringen. 25. German swords in bronze, 31 inches long. Tlie pommels and hilts are of bone and bronze, some entirely of bone. Found in tlio tombs at Hallstatt. The points are not sharp. Cabinet of Antiquities at Vienna. 2(;. Short German sword in bronze. The shape of these swords differs essentially from that of the Greek parazoniuvi. Museum of Hanover. 27. Head of German lance iu bronze. Found at Hallstatt. Cabinet of Antiquities at Vienna. 133 ■WEAPONS, KELTO-GALLIO, GALLIC, AND OF LOWER BHIITANY, ETC., IN BRONZE. It lias already been observed tliat it is not possible to classify distinctly the bronze weapons that have been found in France. Even the celt, that point of a lance so weU known by the rings fastened to it, has been found every- where, even in Eussia. As to the Gallic weapons of the time of Csesar, they were almost all in bronze. It has already been said elsewhere that if one wishes to be accurate, and to classify chronologically the western weapons of pre-historic times, when the productions of different nations were more nearly alike than at any other epoch, and where periods of transition, although frequent, are less distinctly in- dicated, it is necessary to study the construction and con- tents of the various tombs. The high hillocks surrounded and surmounted by stones of a more or less colossal size (dolmens'), and the caves generally closed with flag-stones, containing imburnt bones, and stone weapons, may be con- sidered as very ancient tombs. The second category is usually signalised by smaller hillocks, by the absence of large blocks of stone, by a cave or tomb formed of small rough stones built up ^vith little art, and by the urn, which indicates the burning of the corpse. These latter sepulchres generally contain bronze weapons, which will be described. in this chapter. 134 GaUic Arms. 1. Bronze helmet, 11 iuches in height, ascribed iu France to the Gauls. Museum of Eouen. A similar one has been found at Posen, and another in Bavaria, in the river Inn. This last iigures in the National Museum of "Munich, under the title of a Hungarian or Avario lielmet. 2. Twobronzehelmeta, attributed by the Museum of Saint Germain to tlie Gauls. The shape is the same as that of tlie Assyrian helmets, and of a German helmet found at Britsch, and preserved in tho Kleram collection, at Dresden. 3 G allic cuirass in bronze, found ill a field near Grenoble. B. 16, Museum of Artillery, Paris. The Museums of the Lon^Te, and of Saint Ger- main, possess similar speci- mens. i. Framework of boss in bronze : the shape is not unlike the iron bosses of the Fraukish sliields, but it is difiScult to explain why the iion bar passes under, instead of over, the boss.* Museum of Sand Germain. * The bar, if fixed at both ex- tremities to the circumference of the buckler, might act as a sword- breaker. — Tkanslatok's Note. Gallic Arms. 135 5. GaUic shield, from a sculpture on the sarcophagus foiiud in the Vigna Ammendola, 6. Gallic shield, from a bas-relief on the Arch of Orange. 7. Siijnum or Gallic standard, from a bas-relief on the Arch (if Prange. A similar stiindard, 5k inches high, has been found in Bohemia, and is preserved iu the National Museum of Prague. 8. Gallic sword, from a bas-relief fitted into the pedestal of the Melpomene of the Louvre. 9. Gallic sword in bronze. 18J inches long, found in the Seine at Paris. B. 7. Museum of Artillery, Paris. 10. Kelto-GalUo lance, found in the Seine. Museum of Artillery, Paris. 11. Lance head, found in the Seine. Museum of Artillery, Paris. 12. Hatchet. Louvre. 13. Arrow head. Louvre- 11. Lance head, called ceZi, 3 5 inches long. Auilior's Collection. is. Lance head, called cdt, 6 inches long. B. 20. Museum of Artillery, Paris. Ifi. Hatchet, 5J inches long. B. 34. Museum of Artillery, Paris. 17. Lance blade. Louvre Museum. 136 BUIIISH WEAPONS IN BRONZE. These weapons are rare, and it is difficult to fix accurately their age and origin. Several specimens, preserved in museums in England and described as British, are doubtful. The horned helmet, for example, and the buckler by the side of it, in the British Museum, and the long shield in the Meyrick collection, may very likely have been Danish.* The epoch of the bronze age in England, which the British Commission on the history of labour for the Uni- versal Exhibition in Paris in 1867 has described as " second epoch, anterior to the Eoman invasion," cannot be limited in this manner, because the use of bronze weapons, at first general, did not cease under the Eoman dominion, and even continued partially till the time of the Saxon invasion in the fifth, and the Danish in the sixth centuries. If we compare the Danish shields, the horns, and even the swords, the heads of lances, and of hatchets in bronze which are in the Museum at Copenhagen with the antiquities of the same sort exhibited in England amongst British produc- tions, we shall find amongst most of them a similarity in taste and manufacture which cannot have been produced by chance or imitation alone. It is very probable that the greater part of these weapons were made in Scandinavia itself, or in the northern part of North Germany, and that they were brought into tho British Isles by the Norman corsairs (Nordmannen, or Nordmaenner, or Men of the North), who did not cease to ravage that country till it had been quite conquered by their descendants in a.d. 106G. ' It will be observed in the introduction to the chapter wliich treats of Gerraiinic arms that the author considers the use of bronze foi weapons in Scandinavia to correspond witli tliat of ircin in Gi rniany. British Weapons in Bronze. 137 Bronze helmet, found in the Thames, and preserved in the British Museum. It is in beaten ■work, and is ornamented with incrustations in coloured cement, which resembles enamel. at Framework of helmet found Leckhampton Hill. British Mineum, 3. Bronze shield. Meyrick Collectimi. i. Plating in gilt bronze and beaten work, belonging to a British shield called Ysgioyd, similar in shape to the Koman Scutum. It was found in the river TOtliam. Meyrick Collection. See in the preceding page the observations respecting the great similarity in these weapons to those found in Denmark, and exhibited in the Copenhagen Museum. In that part nf the Introduction which refers to German bronze weapons, mention was made of the fact that the use of metal in the manufacture of weapons began at a later date in Scandinavia than in either Gaul or Germany. 138 British Weapons in Bronze. 5. Bronze swonl. It is very like Ger- man and Scandinavian weapons, and may easily Lave been Danish. Tower of London, g'j. Several simi- lar ones are in the British Mu- 6. Sword blade in bronze ; called Gwaew-fon. Meyrich Collection. 7. Sword blade in bronze, found in Ireland. Meyrich Collection. 8. "War horn, Irish, called Sluic. Meyrich Collection. 9. Bronze hatchet. British Museum. 10, Blade of " franie'e" called a celt, in bronze, with a double ring; to it. British Museum. Scandinavian Weapons in Bronze. 139 In the London Museums there are a large quantity of celts, hatchets, swords, daggers, and lance and arrow- heads, whose shape does not vary in the least from that of Continental weapons of the same epoch. This fact has made me hesitate to class them amongst British weapons. (See ohservations on this question in the introduction to this chapter.) SCANDINAVIAN WEAPONS. The bronze arms of Continental Scandinavia (Denmark) are, as well as the stone weapons of this country, superior to those of other so-called barbaric nations, and very little inferior to those of the Greeks and Eomans ; a fact explicable to those who adopt the author's suggestion that the use of bronze in Denmark was later than in other countries, and coincided with the iron age in Germany and Gaul. (See observations on German bronze weapons, in the introduction to this chapter.) The specimens exhibited in the Museum at Copenhagen, which will be found represented farther on, show with what a degree of art they worked in this metal. The defensive armour of a Scandinavian warrior seems to have consisted in the round or long shield, in the cuirass, and in the helmet, though not one single complete or per- fect helmet exists in the Copenhagen Museum,* and their circles of hair may lead us to suppose that the helmet was only worn by the chiefs, as amongst the Franks. In the preceding article, which treats of British arms, a horned helmet is mentioned that may very probably have been Danish. The use of stone and bronze weapons seems to have been continued much longer in Scandinavia than in the rest of Europe ; since M. Worsaae has been obliged in his illus- trated catalogue of the Copenhagen Museum to class amongst the products of the iron age objects belonging to the middle ages, and even to a late period of the middle ages, for he introduces even swords of the thirteenth and fourteenth centuries. * See following page, the crest that is supposed to have belonged to a helmet. 140 Scandinavian Arms in Bronze. 1. Crest of helmet (?) Danish, in bronze, 9 inches high {Sjelm- prydeUe in Danish), preserved in the Copenhagen Museum. This singular crest is in the shape of a candlestick. 2. Head hand, a sort of helmet, .5 iuclies high, engraved and ham- mered. Copenhagen Museum. Bound Danish shield in bronze (Bronees-Kjold in Danisli) ; 23 inches in length, with centi'al boss, and three surrounding oues. Copenltagen Museum. i. Oval Danish shield in bronze, 26 inches long, inside view, the boss serves to receive the handle. Copenhagen Museum, Scandinavian Arms in Bronze. 141 5. Covering of round Danish sljield in bronze, ISinelies in diameter ; it is richly ornamented, and has a pointed boss. Copenhagen Museum. 6. Bound Danish shield in bronze, 22 inches in diameter, orna- mented with n;iil heads, and with round boss. Copenhagen Museum. Danish spring arm guard in bronze, 12J inclies long. Copen- hagen Museum. (See this same Mit of arm-guard in the chapter on German arms in bronze.) 8. Danish arm-guard in bronze, G inches long. Copenhagen Museum. S. Danish arm-guard in bronze, 7^ inches long. It is ornamented with medals. Copenhagen Museum. 142 Scandinavian Arms in Bronze. 10. Danish celt, 3J inolies long. Copenhagen Museum. 1 1 . Danish arrow-head iu bronze, 21 inches long. Copenliagen Museum. 12. Danish arrow-head in bronze, G inches long. Copenliagen Museum. 13. Danish hatchet iu bronze, 6J inches long. Copenhagen Museum. 14. Danish hatchet iu bronze, 10 inches long. 15. Danish hatchet iu bronze, 18 inches long. Copenhagen Museum. 16. Danish knife iu bronze, 6i inches long. 17. Celt, 11 inches in leugtli, and a part of the staff re- maining. Cvpenhagen Museum. 18. Head of lance, Danish, iu bronze, 12J inches Icjng. Copenhagen Museum ISa. Same as above. 19. Danish dngger in bronze, 14| inches iu lengtli. Copenhagsn Museum. 20. Danish dagger in bronze, SJ inches in length. Copenhagen Museum. 21. Danish poniard in 1 ronze, 4 inches long. Copenhagen Museum. Scandinavian Arms in Bronze. 143 22. Danish sword in bronze, 37 inches in length. The work- manship is very remarkable, and similar to that found in German tombs. Copenhagen Museum. 23. Danish sword in bronze, 35 inches in length. Copenhagen Museum. 24. War horn in bronze, Danish, 4 feet 4 inches in length. Copenhagen Museum. The Museum at Copenliagen pos- sesses more than two hundred re- markable objects belonging to the age of bronze, amongst which, be- sides those here represented, should be mentioned a sword with its leathern slieath, poniards and knives of unusual shapes, rings of hair worn as head-dresses, and some keramic ware, amongst which are domestic urns of great value in fixing their respective epochs, according to the methods of interment or of burning. 144 BB01TZE ASMS OF VARIOUS COUXTllIES. 1. Bronze ce?i, found in Switzerland, and preserved in tlie Museum of Geneva. 2. Bronze celt, found in Switzerland, and preserved in the Museum of Geneva. 3. Swiss hatchet in bronze. Museum of Geneva. i. Hatchet or lance iiead in bronze, 7 inches long. MuseuTn of Lausanne. 5. Bronze hatchet found at Lieli near Oberwyl, not far from Bremgarten in Switzerland. Preserved in the Zurich Mu- seum. C. Bronze hatchet, found in Russia. A cast of it is in the Museum of Saint Germain. 7. Knife with ram's head, in bronze, 10 inches long, found in Siberia. Klemm Collection, Dresden. 8 and 9. Two hatchets in bronze, called celts, found in Eussia. Casts of them in the Saint Germain Museum. Oziersky Collection. Excavations made in the pro- vinces of Minsk and Vladimir, and also in Siberia, have brought to light a largo quantity of arms and tools of tlie stone age, some rough, and Some pohshed, or rather smoothed. Many of the specimens are preserved in tiie Oziersky collection at St. Petersburg. 10. Bronze axe, found in Hungary. Museum of Saint Germain. 11. Head of lance, in bronze, GJ inches loug, found in Bohemia. National Museum of Prague. A cast of the same is in the AEMS OF THE IRON AGE BELONGING TO THE NOKTHEEN NATIONS. THE epoch in England called the iron age, which the British commission for the history of labour at the Universal Exhibition of 1867, in Paris, has designated as the " third epoch- — that of the Eoman reign," — does not begin till a hundred years before the Saxon invasion ; for the knowledge of iron weapons does not imply their prevalence. The use of bronze for offensive weapons was continued much longer in. the British Isles than on the Continent, to which fact was mainly due the easy subjugation of the country at that epoch. The iron weapons of the Eomans, the Saxons, the Franks^ the Burgundians, and also of other German tribes, had con- tributed greatly to their victories over people whose cutting weapons were still formed of copper. The badly armed Gauls were entirely conquered by the Eomans, though the latter were never able to subdue Germany, where their legions constantly met with reverses. The periods that it has been decided to include under the title of the iron age ought logically to terminate at the end of the fifth century, that is, after the decline of the Eastern Empire ; they have, however, been brought down to a much later date, even to the end of the Carlovingian race (987), a system which though not correct had better be accepted in part, for fear of bringing disorder among chronologic classifi- cation, and thus aggravating the difficulty of researches, as so- many museums have classed a large quantity of arms belonging to the middle ages amongst the products of the iron age. We have seen in the introduction that iron was known everywhere and in all ages, but that its universal employment for the fabrication of offensive and defensive weapons was- preceded by that of bronze. The Eomans very soon found' out the superiority of iron for offensive weapons to bronze,, which metal was thenceforth restricted by them to defensive armour. In the year 202 B.C. the Eoman soldier had no longer any offensive weapon of bronze, and it may be admitted that in the second Punic war the iron arms contributed greatly Ir 146 Arms of the Iron Age to the Roman victories over tlie Carthaginians. The few iron weapons that have heen found in the Gallic tomhs, where they were mingled with those of bronze, such as the specimens that are preserved in the Museum of Saint Germain, and those found in the Gallic cemetery of Catalaunum (in the department of Marne), seem to be of German origin, because they resemble greatly the swords found at Tiefenau and at ISTeufchatel in Switzerland, which will be found represented farther on, and which I attribute to the Burgundians, who were so celebrated for working in iron. Helvetia, which in the year 450 was almost depopulated by the systematic massacres of the Eomans, was repeopled about 550 by the Burgundians, bands of which people had possessed themselves of the west ; by the Almains, who occupied all the districts where German is now spoken ; and by the Ostrogoths, who established themselves in the south, where the French, Italian, and Eomansch tongues now prevail. The Burgundians were a strong and tall race, and from the large hilts of their swords must have had very large hands. The axe and two lance-heads in iron that were found near the village of Onswala in Switzerland (see illus- tration farther on) show by their different shape that they must have belonged to a nation which was not Frank, and was probably Burgundian. The swords of the Britons at a later period were of a very great length, longer even than those of the Kimbri and Marcomanni. The form and character of the greater part of the Danish or Scandinavian arms classed in the Copenhagen Museum amongst those of the so-called age of iron show that they belonged to the middle ages, and there is nothing to authorise their being carried back to the iron age, which ought to termi- nate at the end of the fifth century, after the fall of the Eastern Empire. As in England, so in Denmark, the use of iron began but a little while before the middle ages, the eminently Germanic character of which was stamped on their arms and monuments. The equipment of the warriors varied but slightly amongst the numerous branches of the great German race. Every- where the Saxe (Sacks) or Scramasax,* a sort of Eoman Gladius with a grooved blade, sharp only on one side, and the long sword, spata, or ensis, that was so formidable, ac- cording to Guglielmus Apuliensis and Nicetas Choniates, in the Teutonic hand,| were their favourite offensive * See the etymology of this Vford, p. 35. t The swords foimd in Germany measui-e generally 36 to 3S inches in Belonging to Northern Nations. 147 weapons. The long swori, renowned for its temper, and tearing often the name of its owner engraved in Eunic letters, played an important part in the lives of these people, and was frequently known by a proper name. Such were the Mimung of Wieland, the Bcdmung of Sigfried, the Burndart or Dumadal of Eoland, the poisoned Hrunting of Beowulf, the Damleif of Hagen the father of Gudrun, the Tryfing, the weapon of Svafrlamis, the Mistehtein, that ex- terminated two thousand four hundred men, the Skeop lAusingi and Swittingi of Danish history, written by Saxo Grammaticus, the Joiuse of Charlemagne, the Almace of Turpin, the Alteclre of Olivier, the Ghlaritel of Englir, the Preciosa of King Poligan, the Sahoyeuse of Orange, the Mai of Eother, the Caltbarn of King Artus, and the English Querstewheis of Hakon, which, as its name shows, by a single stroke split in two an enormous mill-stone. It is curious to remark that among Northern races the sword is everywhere recognized as male ; in the South, as female. It is with this weapon (much shorter among the Mero- vingians than in the days of knighthood) that Clotaire II. according to history committed the dreadful crime of mas- sacring all the Saxons that he had vanquished, men, women, and children, that were taller than his sword. The sara- masax, though bearing a Saxon name, is rarely met with in Saxon tombs, nor in those of Northern Germany. It is by the Burgundian, the Almain, and the Frank branches that the weapon was familiarly used. The axes, which varied in form according to the races to which they belonged, and amongst which the francisque of the latest conquerors of Gaul was one of the most celebrated, were, however, the most characteristic weapon of the German nation ; these battle-axes are found in Scandinavia as well as in Great Britain, into which country they had been brought by the Saxons and the Danes. For the study of the equip- ment of these so-called barbarian peoples, there exist very few documents, and these few relating only to the Franks. All that remaiu in the way of arms belonging to the end of the Merovingian reigns, are the sword and the francisque of Childeric I., preserved in the Louvre. The sword and spurs attributed to Charlemagne constitute probably the sole re- leugth, witli a rounded blade, whilst the Frank swords found ia Gaul are 28 to 30 inches long, and have tlie blade more pointed. 148 Amis of the Iron Age. maining arms of the commencement of the Carlovingian epoch. For written and painted documents in this matter we must have recourse to the Bible of Charles le Chauve (840 — 877), though the miniatures seem not very exact, and are certainly influenced by the imagination of the artist, for in them the king is represented seated on his throne smrounded by guards, whose costumes may be considered Roman, the leathern fringes and other portions of the dress seeming almost prsetorian. The Codex Aureus of St. Gall, the cover of the Antiphonarium of St. Gregory, the Leges Longobardorum of the Stuttgart Library, the Wessobrunn of a.d. 810, in the Munich Library, the bas-relief of the Church of St. Julien at Brioude (?) and other documents all contradict the illustrator of this Bible of Charles le Chauve. After this there is no other historical nor archasological trace for a hundred years, when, in the Mnrtyrologiiiiu of the tenth century, a manuscript preserved in the Library of Stuttgart, are represented, as likewise in the bas-relief of the reliquary of the treasury of St. Moritz of the ninth century, warriors already armed in the same manner as in the Bayeus tapestry of the end of the eleventh century. Thanks to the descriptions given by several authors (Sidonius ApoUinarius, writing in a.d. 450 ; Prooopius Agathios, Gregory of Tours, and others), and to the exca- vations made in the Merovingian cemeteries, we are able to reconstruct nearly the whole of the equipment of the last conquerors of Gaul. As with most other Germanic races, the defensive armour of the Frank consisted only in the smaU round convex shield, 20 inches in diameter, made of wood covered with skin. As yet no casques nor cuirasses have been found, but we have written evidence that the chiefs wore them. The common soldier had part of his head shaved like a Chinese, the remainder of the hair was dyed a bright red, plaited and matted together on the front part of the head, which was a kind of protection, to serve as a casque, and was usually confined by a leathern band. His offensive armour consisted in the angon or Tpilum, barbed at the point, the lance (framee), with a long blade of iron, the battle-axe, single-edged and called francisqiie, the swcrd and the scramasax, a long dagger or rather cutlass with r. single edge. The bow and arrosv he used only in hunting, for the angon, and even the francisque, served him occasionally as missiles. See pp. 35 to 39. Chrmanio Jjwi Weapons. I. Blade of Germauio lance in iron, cnlled celt, 74 iiiohos lonj?. National Museum of Munich. -. Blndo of Geimanio liuice in iron, with n socket, llj inches long; nnd ft portion of tlio stnfl" iv- niniuiiig, about 6 inches in U'ngth. Found in one of the tombs of the Hallst»tt cemetery, iu Austria. CiiUicdon of M. Ai, at LinI:. 3. Germanic liuicc-bUnio in iron, 11 J inches loui;. CoHeotioii of M. A:, at Lint: 4. Gormiiuio lanco-blade iu iron, 11 J iuolies long, iitem. A similar s[^mon is in the Cubinet of Antiquities iu Vienna, and a thiiil, found at Lfiueburg, in the Jluseum nt Hanover. 5. Germanic lance - blade, with six;ket in iron. Length 11 J inches. Found iu the Hallstiitt eemeteiy. Colltiction of M. A:, Lint:. 6. Germojiio livnce-blade in iron, with socket, and a ring similar to the rings on the lances calle>l eellf. It mensxires lo inclies, and wos found in the Hallstatt cemetery. Cabiiut if AMquitifS in Vicnnn . 7. Small Germauio sword, length ItJJ inches. The blade is iron, tl>o hilt bronze. Found in the oemeterv at Hallstatt. Cabinet of AiUiquUies, Virtin.i. 8. Germanic poniard iu iron, lengtli 1 5 inches. Found iu a tomb in llavaria. Musfuin of Sigmaringcn. 9. GcTmonio war - knife in iron, length 14 inches. Found ot Ringenbocli. Jlfu«f utn of Sigmaringii). 10. Germanic war -knife iu imn, length 11 J inches. Aiinogrammique," of the author. of the Seventeenth Oentmry. 219 German armour of the Beventeenth century, at- tributed to the Arch- duke Leopold, who be- came Emperor in 1658, and died in 1705. Am- bras Collection at Vienna. A similar suit in the Louvre is attributed to Louis Xin. (.1610— 1643), and several other suits in the Artillery Museum at Paris are said to be of the reign of Louis XIV. (1643— 1715). The date of the construction of these in- ferior suits of harness may he seen, by the huge shoulder-pieces, the di- minution of the breast- plate, and the long " lob- ster - tails," which re- placed the waist -piece and the tassets. 220 Complete Eqiiipmenis Hungarian armour, ef the end of the sixteenth or beginning of the seven- teenth century, composed of chain and plate. The round shield is orna- mented with a painting representing a cross-bow. The whole equipment has an oriental character about it, especially the cuishes and knee-pieces, composed of plates joined by rings, such as are used in Persia. The casque is made with a low crown, and covered with a mail hood, the front part of which pro- tects the forehead and cheeks. The whole appears graceful, and very pic- turesque. Imperial Arsenal o] Vienna. of the Seventeenth Century. 221 Hungarian war - har- ness, in steel, richly damascened, of German manufactnre of the seventeenth century. It is characterised by the pe- culiar form of the casque and shield. The mace in the right hand of the man is a weapon of the sixteenth century, and was not in nse at the time to which this ar- mour belongs. It ap- pears that this half-suit was worn over the buiF coat, similar to tliose of the Swedes in the Thirty Years' War. The sabre is of Eastern shape. Imperial Arsenal of Vienna. 222 Armour of the Eigliteeath Century. Cuirass with ridged breastplate, and helmet with nose-piece, cheek and neck guards, a kind of burgonet. Arms of the end of the seventeenth or beginning of the eighteenth century, riolily damascened and engraved. Imperial Arsenal of Vienna. AEMOOE IN ALL ITS DETAIL, WITH THE EXCEPTION OF THE CASQTTE. We have seen in the historical chapter, and in the intro- duction to the present one, in what wa.j a soldier's equipment underwent continual changes from the commencement of the Middle Ages. The perfected plate armour, which will here be described in detail, belongs to the end of the fifteenth or beginning of the sixteenth century. It comprises, besides the casque (which at this time was always considered a thing apart), the following pieces : The neck collar {Halsberge in German), which supported the whole of the rest of the harness, must not be confounded ivith the gorget {Kelilstiiek, Ger.), underneath which it was placed, and which, like it, was formed of several plates. The cuirass {Kiirass in German) was composed of the breastplate [Brust platte), which protected the chest and was often made with a salient ridge called iaptd dovm the centre (Graete), and of the back plate (Jtiickenplatie). Armour in Detail. 223 The lanoe rest (Busthacken), which was placed on the right of the breastplate, and was used to fix the lance. The small plates (Eleine Sehienea), to protect the armpits. The shoulder-plates (Achsdstiicke), with or without passe- gardes {Bander). The palettes {AchselhoMscTieiben), which protected the armpits, and whose use does not date farther back than the middle of the fifteenth century, and disappears at the end of the sixteenth. The large brayette (VorderscMrz), that part of the armour which covered the abdomen. It was composed of steel plates, and ended in the tassets. The small brayette, which English taste has eliminated from the armour preserved in the Tower of London. The tassets, or tuiles (Krebse), destined to protect the upper part of the thighs, and strapped with thongs on to the large brayette or waist-piece. Some German authors, how- ever, give the name "Krebs" to a complete suit of armour composed of imbricated plates, and " halber Krebs " to the lower part of the armour in plates and the long cuishes of the end of the sixteenth and beginning of the seventeenth centuries. Fouchet also, who wrote about the end of the sixteenth century, says that armour entirely composed of imbricated plates was called " ecrevisses " in France, and " a suit of splints " in England. The loin guard [HinierscMrz) was composed of imbricated plates, like the waist-piece. The arm guards (Armzeug and ArmscMenen), composed of front and back pieces (vor and Mnter Armzeug), joined together by the elbow-pieces (Meuseln or Ellemhogen Kackeln). The cuishes (Dielinge, DicMinge, or SchenhelscMenen), which before 1500 protected only the front of the thigh. The knee-plates (Kniestuche). The greaves, or double leggings with hinges (Beinschiemn), which before 1500 generally covered only the front of the leg. The armed shoes, or solerets {Bust- or Eisenschuhe). The many varieties of foot-armour being designated by French titles to which no recognised English synonyms exist, it has been thought better to give in this instance the terms 224 Armour in Detail. employed by M. Demmin rather than attempt to translate them. Fii'st, Solerets o crochet, in the eleventh century ; a la poulaine, from early twelfth to middle fourteenth century; ogivale lancette, or demi-poulaine, from 1350 to 1470, and return to a la poulaine in the iifteenth century ; arcs tiers-points from 1440 to 1470 ; a demi-sabots, or demi- pieds d'ours, about 1485 ; a sabots, or pieds d'ours, from 1490 to 1560 ; and a bee de cane about 1585. The gauntlets (Kampfhandscluihe) had in the fourteenth century articulated fingers (Fingerhandschuhe, or Gefingerte Tatze) ; in the fifteenth century they were without joints ; and in the sixteenth century they were again made with separate fingers. The gauntlets of the seventeenth cen- tury, in doeskin and armed with plated scales, were called in German SchappenJiandschuhe. The large shoulder-guard (Kleines BrusiscJiild) was used from the end of the fifteenth century. The shoulder-plate with passe-garde {SchulterscTiild mit Band). The large tilting breast-shield (^Grosses Brustsehild and ScJiarfrenntartsche) was sometimes simple ; sometimes with the chin-piece, with or without sight-holes; with volant-piece, or with the arm-guard, but all these were used only for tilting. The large tilting cuishes (Turnier Lendenplatte). The vam-plate {Schweber Scheibe). The different pieces belonging to the helmet, which will all be found in the following chapter, were : The volant-piece (^Vorhelm). The movable chin-piece, or half mentonniere (Kinnlielm). The great mentonniere (Kinnlielm'). The armour of the sixteenth century is remarkable by its beautiful flutings ; such was the armour called ' ' Maxi- milian " or "Milanaise:" that of the second half of this same century is adorned with artistic engravings, done with the tool and with aquafortis. When, towards the end of the sixteenth century, armour had attained its highest degree of perfection, but notwith- standing could no longer offer a sufficient protection against fire- arms, it declined, and ended by disappearing entirely in the second half of the seventeenth century. After the Armour in Detail. 225 tassets had been replaced by the ungraceful cuishes, annour was reduced to its latest change, in which there were neither greaves nor cuishes, and very soon no more arm-guards ; the cuirass alone being worn to the end, and even this only as a special arm by the cuirassiers. The buff coat or jerkin (Koller), on which was worn a light collar, then took the place of armour, while greaves and solerets were discarded for the heavy riding boots of Louis XIV. and WiUiam III. Before the introduction of half armour ungraceful breast- plates, imitating the fashion of doublets, had already been the precursors of decadence in armour ; these breastplates, which resembled the Punch's hump of the reign of Henry III., and afterwards the flat forms of costume imder Louis XIII., were followed, lastly, by the long lobster-taUs of Louis XTV.'s reign. Eespecting armours ornamented with aquafortis engraving, a style of art probably invented by Wohlgemuth (1434— 1519), if not by his pupil Diirer (1471—1528), these are very rare in the fifteenth century : as for the supposition that engraving by aquafortis was in use among the Arabs from the eleventh century, it has not been confirmed by any existing object. Engraving by the tool was used for the ornamenting of swords from the second half of the Christian Middle Ages, but everything which dat-es farther back than the fifteenth century is very unartistic. 226 Detached Pieces ]. Neck collar (flofafterge). This piece Bupported the whole of the harness. lA. Ditto, ditto. 2. Breastplate {Brustplatte), or &ont part of the cuirass. The saUent ridge in the centre is sometimes called tapul {Graeie). The lance- rest is seen on the right of the breastplate (BmtJiacken). 3. Back-plate of the cuirass {BSeken- platte). Anihras Collection. i. Shonlder-plate, or pauldron (Ached- etttdc), of a fluted suit of armour ; second half of the fifteenth cen- tury. Author's CoUeetion. of Flaie Armour, 5. Palette (^Aeliselhohlseheibe) of a fluted suit ; end of the fiftoouth. oentury. 6. Palette of a Gothic suit ; fifteenth century. 7. Palette, larger than the piecedrng ones, of a suit belonging to the middle of the sixteenth cen- tury. 8, Palette, 10 inches in diameter, studded with copper nail-heads ; belonging to a suit of the end of the sixteenth century, in the Ambras Collection. A few suits of tilting armour of the end of the fifteenth and begin- ning of the sixteenth century have, nevertheless, similarly large palettes. Gorget with pauldrons attached ; end of the sixteenth century. In England a piece of armour so composed was called •' aUe- cret." A similar gorget and shoulder-piece may be seen in No. G. 256, Museum of Artil- lery, Paris. 228 Detached Pieces 10. Waist-piece, or great brayette (yor- derschmrz), belonging to a Gtothio suit of the fifteenth century, in the Imperial Arsenal of Vienna. This waist-piece was always com- pleted by the two large tassete, or tuiles, which protected the ouishes. 11. Waist-piece of an engraved and embossed suit, end of the fifteenth or beginning of the sixteenth century, for fighting on foot. Its shape renders the tassets unneces- sary. 12. Tasaot* {Kreht), tuile-shaped, of a fifteenth-century suit. Museum of Artillery, Paris. 13. Small taaset, in plates, end of the fifteenth century ; used also in the sixteenth century. * During the fifteenth centuiy the tassets were generally composed of one piece, like No. 12. After that they assumed a rounded shape, and were for the most part smaller, during the six- teenth century, and with movable plates. of Plate Armour. 229 14. Tasset and waist-piece in one, of an unusual size, and almost entirely covering the cuishes, like a Freemason's apron; it is part of a suit attributed to Francis I. (died in 1547). 15. Small brayette (GliedscMrm) of a sixteentli-centuiy suit. 16. Small brayette, sirfeenth cen- tury. No. G. 119, Museum of ArtiUery, Paris. 17. Loin -guard, or gaide -reins {BiiOerschmz), of a suit be- longing to the end of the fifteenth century. 230 Detached Pieces 18. Garde-reins, or loin-guard, of a Gothic suit of armour, one of tiie most graceful pieces of fifteenth-century work known. 19. Garde-reins of a fluted suit called " Maximilienne ;" end of the fifteenth or beginning of the sixteenth century. 20. Two garde-reins of the seven- teenth century. The smaller one belongs to a suit of tht reign of Louis XIV., preserved in the Museum of Artillery, Paris. 21. Complete arm -guard {Games Armzemg). It is composed of an upper and lower arm-plate, called vambrace and rear- brace {Vor- and Sinterarm), and these two pieces are joined together by the elbow-piece (Meusel, or Mletibogen- kachel). The shape of the elbow - piece varies greatly. Sometimes it is more rounded, as at the end of the fifteeu'Ji century ; sometimes with jointed plates ; and during the sixteenth century it was of small dimensions. of Plate Armouy. 231 22. Guish (Dieling or Schenkel- ichiene), or thigh-plate, with knee - cap (^KmestSclt), and greave (^Beiiachieae). It is double or hinged, which shows its manufacture to be later than 1500. 23. 24 25. Greave with soleret echuhe). The soleret is of the shape called "beo de cane;" end of the sixteenth century. Gauntlet {Kampfhandschuhe or gejingerte Handtatze), with separately articulated fingers, belonging to a Gothic suit ; middle of the fifteenth century. Shoulder-plate, or grand guard {kleines SchuUersehUd), used in tilting towards the end of the fifteenth century. 232 26. Pauldron with passe-garde {Schiller- gchild mit Band). 27. Great tilting ahoulder-guaid {Turmer schvlterschild). 27 bit. Blbow-pieoe belonging to a left arm- guard; German, beginning of the sixteenth century. G. 10, Museum of Artillery, Paris. 28. Tilting breastplate, in iron, richly engraved ; German work on a tilting suit, beginning of the sixteenth cen- tury. This piece of armour is called in German Grosses Bmstechild, and also Scharfrenntarticlie. 29. Tilting breastplate with mentonniere {BrustsehUd mit Schimbart), from the " Book of Tom-neys " of Duke Wil- liam IV. of Bavaria (1510—1545). of Plate Armour. 233 30. Tilting breastplate with mentonnifere and helmet, same description as No. 29. 31. Ditto, ditto. 32. Tilting breastplate with mentonuifere, belonging to a suit of the beginning of the sixteenth century. It is composed of thick wood, and covered with canvas, painted black. Ambraa Collection. 83. Tilting breastplate with mentonniere and sight-holes. This protection to tUt- ing armour, which covers nearly the whole of the helmet, and forms a sort of vizor, is older than the preceding tUting shields, and has been copied &om the engraving of the "Triumph of Maxi- milian," executed about 1517. 32 35 234 Detached Pieces 34. Largo German tilting guard, with volant-piece and a screw lance- rest. The helmet, already pro- tected hy the chin-guard, to which it is screwed, is also fastened tn the back-plate of the cuirass by the crest or comb, called in GermaD Bennhuischraube. The screw lance-rest was used to keep in its place and support the tilting shield, to hold the prizes won at tournaments, and to rest the lance. It is also believed that the kniglit sometimes placed a ball there to serve as a target for his adversary. Museum of Dresden. G. 124, facsimile, Museum of Artillery, Paris. 35. Ditto, ditto, but without the hel- met and crest fastened to the back-plate. 36 36. Large tilting cuishe (Tuiiiier- Lendenplatte), belonging to a suit of armour called Maxi- milienne ; beginning of the six- teenth century. G. Hi, Musewm of Artillery, Varit. of Plate Armour. 235 37. I«rge euisse, or thigh-piece, for tilting, of Maximilian armour, of the beguming of the sixteenth century. G. 115, Museum of Artillery, Farts. German leg-piece, for toumamenta. End of the iifteenth century. This was worn over the greaves of the armour, so as to shield the leg from collision with the bar- rier. 39. Large cuisse for tilting ; beguming of the sixteenth century. Collection of M. le Comte de Nieuwer- kerke. 40. Vamplate of lance (^Schwebetcke^e in German .. Museum of Artillery, Paris, 236 Detached Pieces ^] 41. Vamplate of lance of the six- teenth century. Musema of Dresden, 42. Vamplate of lance of the six- , teenth century. Meyrick Collection. 43. Vamplate of lance of the six- teenth century. MeyricTi Collection. 44. Lance-rest (Biisthaeken in Ger- man) of the middle of the fiixteenth century. Mueeum of Dresden. 45. Two sorts of lance-rests of the end of the sixteenth century. Mtiseum of Dresden, of Plate Armour. 237 46. Or&te-^chelle (BennhuUchratibe in German). Museum of Dresden, see No. 34. 47. Screwed lance-rest. Museum of Dresden, Bee No. 34, 48. High placcate, or volant - piece {Vorhdm in German). Museum of Dresden. 49. Volant-piece with placcate, paul- drons, and elbow-pieces, from a set of tilting armour belonging to the end of the fifteenth centmy. Benn^ CoUection at Constance. 50. Great chin-gnard (Grosse Barthaiibe in German). NieuwerTserke CoUedion. 238 Detached of Plate Armour. 51. Volant-piece. Meyrick Collection. 52. Plated chin-guard and gor- get {Oeschobene Barthavie in German) of German workmanship. Used in the end of the fifteenth century, when it was worn with the salade. Nieawerkerlte Collection, 53. Half chin-guard (HaZieJBart- haube in German) of the end of the fifteenth cen- tury. 54. Ailette, or plate, used dur- ing the transition period, and worn between the coat and the leathern annonx. It was in use for about 30 years. One is to be seen on the statue of Rodolph de Hierstein (who died in 1318) at Bahl. 55. Breastplate of tilting armour, German, of the first part of the sixteenth century. This is of very peculiar make, and there exist oiJy two specimens (one in the Ambras Collection, and one in the Museum of Artillery in Paris). When the centre part of the breastplate was touched by the lance, the whole opened with a spring. The place to be touched was marked by a pierced heart. 239 THE OASQtJB. The word casque (German, Selm) is derived from the Keltic words cos, box or sheath, and hed, from cead, head. We have seen what were the shapes of the ancient casques, and of those worn by such people as were called barbarians during the iron and bronze ages. Only two sorts exist : the horned casque, attributed by the British Museum to the Britons, but which appears to have been more probably Scandinavian, and the conical casques, similar to the As- syrian ones of the earliest times : in the Museums of Eouen and Saint Germain they are attributed to the Gauls, and in the Munich Museum to the Avars. The casques of the chiefe of the Germanic races, though not a single specimen has been found as yet, were most probably of the same conical shape amongst the people of Southern Germany, inasmuch as the Franco-Norman casque of the eleventh century still preserved that shape unchanged. This last has a fixed nose-piece (Naseriberge or ScJidribart in German), several inches in width, which was fixed to the helmet and came just beyond the nose, so as to protect it. This casque was worn over the hood (Binghavbe in German), which was usually of small chains or mail, and was often a continuation of the hauberk, or mail-shirt. The casque of the people of Northern Germany had also a fixed nose-piece, and, according to MS8. of the time, a round crown, and later on, movable earplates and neck- guard, as represented in page 248, No. 20, from the specimen in the Museum of Artillery in Paris ; this casque some- times was of a disproportionate height, as may be seen in the SeKgenthal embroidery, represented in page 170. The first helms appear towards the end of the twelfth century. (In German they are called Topfformhelm.) The Museum of Artillery in Paris possesses a specimen marked No. H. 1, which is represented in page 250. This is really a casque of the transition period which has preserved its nose-piece. The real helm (Topfhelm) dates no earlier than the end of the thirteenth or the beginning of the fourteenth century, and the crested helm is of about the same period, for in the 240 The Casque. .i:L '■■■ ;--i,V' \ 247 248 Different Casques before the 18. Casque in red copper of the eleventh century, with Greek cross and three pierced holes. It was found in the Saone, and is now in the Museum of Artillery in Paris. IS. German casque with neck-guard, of the twelfth century. From a mural paints ing in the Cathedral of Brunswick, executed in the reign of Henry the Lion, who died in 1195. German casque with movable neck- guard and cheek-plates, but with the nose-piece fixed. It is of the twelfth century, and was found in the Somme. Museum of Artillery, Paris, Bronze casque with neck-guard, of either the tenth or twelfth century ; more probably the latter; for it was dis- covered in the river Lech, near the field of battle where Saint Ulrich, at the head of his flock, contributed to the defeat of Attila. Maximilian Museum af Augsburg, Introduction of the Heaume. 249 22. German casque with ohin-pieoe and gorget affixed, and with open mezail, of the thirteenth century, from the German MS. of Tristan and Isolde, by Gottfried of Strasburg. Library of Miimioh. 23. Small cap of mail riveted a grains d'orge, of the thirteenth century, found in a tomb at Epemelle (Cote d'Or). H. 7, Mitseum of Artillery, Paris. 24. SmaU German bassinet, or skull-cap, of the thirteenth century. It was worn over the camail and under the heaume. 2d. Small bassinet, probably French, of the thirteenth century. It has a neck- guard of mail, and a fixed nose-piece, which has been broken, and which appears to be the last trace of the Tiasal of the tenth and eleventh centuries. H. 18, Museum of Artillery, Paris. 250 Heaumes without Crests. 26. German heaume {Toppielm in German) of the twelfth century. From the mural paintings in the Cathedral at Brunswick, executed in the reign of Henri le Lion, who died in 1195. S7 27. Id. as above. These are, so far as the author knows, the earliest specimens of lieaumes, casques of German origin, intended to be worn above the bas- sinet-. 28. Primitive English heaume, with nose- piece, of the end of the twelfth century. It is of blackened iron, about seventeen inches in height. H. 1, Mugeum of Artillery, Paris. 39 29. Early English heaume, also with nose- piece, of the end of the twelfth century 5 Tower of London. Heaumes without Crests. 251 30. Heaume worn by arcners on foot and on horseback, of the thirteenth cen- tury, from the Grnnicon Colma/rieriae, of 1298. 31. English heanme of the thirteenth cen- tury. This is probably the new sort of helmet spoken of by the writers contemporary with the battle of Bou- vines (1214). The German heaume, however, of the same date, represented on the frescoes in the Cathedral of Brunswick, is a much more perfect piece of armour. Musewm of Artillery, Paris. 32. Enghsh heaume, or high helmet, marked in the Parham Collection as belonging to the twelfth century. But the author believes it to be a counterfeit, as not a single one of the same shape is to he found in any manuscript 33. Germauheaumeof thebegumingof the thirteenth century, from the Tristan and Isolde MS. in the library of Munich. Heaumes without Crests. 34. Heaume of the thirteenth century, in iron, decorated with polychrome de- signs. Nieuwerkerke Collection. German heaume of the end of the thirteenth century, from an illumina- tion in the JKare&ssi's manuscript, pre- served in the Imperial Library of Paris, which represents the death of Albert of Heigerlocb, tlie Minne- singer of the lineage of HobenzoUern, in 1298. Heaume, preserved in the Museum of Prague, said to be of the thirteenth century. But the helmet is altogether so light that it looks like a counter- feit. German heaume of the fourteenth cen- tury. It was found, together with some bassinets, represented farther on, under the ruins of the Castle of Tannenburg, which was destroyed in the fourteenth century. The helmet marked No. 570 in the Museum of Copenhagen is very like this one, and another in the Museum Francisco- Oarolinum at Lintz also closely re- sembles it. Heaumes with Crests. 3P. 38 English heaume with hinged flap , beginning of the fourteenth cen- tury. ^ Tmoer of London. 39. German heaume ; ena oi the four- teenth century. H. 5, Mitseum of Artillery. Paris. 40. German heaume with crest, of the tliirteenth century. From t^ German iEneid of Henry of Wal- deck. tl. Same as above. These two are the earliest crested helmets which the author has been able to find. Till lately it was believed that the crest had been added to the heaumes about the middle of the fourteenth century, and that the earliest defences of this character could not date sooner than the end of the thirteenth century. But the Nos. 26 and 27, copied from the frescoes in the Cathedra] of Brunswick, and the ones here represented, appear to militate against this opinion. ^^■^^^^^im^ 254 Heaumes with Crests. 42. Large heaume with crest, from the cenotaph of the King of the Eomans, Gunther of Schwarzburg, who was poisoned at Franlifort in 1349. The monument is of red stone, and was erected in the Cathedral of Frank- tort in 1352. 43. Large heaume {ex tilting, in polishea iron, and with the remains of a crest, of the fourteenth century. The lower part of the crest is of plates of metal imbricated or curved, and the mezail is fixed. It is probable that the crest is not complete, and that there was a heraldic badge or some other emblem on the top. H. 3, Museu/m of Artillery, Paris. 44. Large tilting heaume, EngUsh, in black iron, with crest, of the begin- ning of the fifteenth century. Tho crest is of wood, and seems to bo modern. H. 4, Miiseum of Artillery, Farig. Tilting Heaumes. 45. Large tUting heaume of the fifteentli eentniy, either English or German. It has a hinged flap or ventilator, and a small collar, that was meant to be riveted on to the cuirass. 255 H' 46. Laige tilting helmet, English, of the end of the fifteenth century. It is of polished iron, and has a small coUar. Ibwer of London, 47. Large Grerman tilting heamne ; end of the fifteenth century. It is in polished iron, and with a small collar, similai to the one in the Munich Museum. H. 6, Musefwm of Artillery, Paris. 48. Large tilting heaume, supposed to have belonged to Maximilian I., who died in 1519. Imperial Arsenal of Vienna. A similar helm, found at Klingen- berg in Bohemia, is in the Prague Museum, and another in the Arsenal at Berlin. This shape continued in fashion, though somewhat modified, tiU the middle of the sixteenth cen- tury. 256 War and Tilting Heaumes. Heaume for war in polished iron. It has a round crown and hinged vizor ; the gorget and collar are fixed. It is part of a complete suit of armour in the Arsenal of Berlin. German heaume used in tourna- ments with massettes* (Kol- hentournier in German), of the fifteenth century. It is twenty inches in height, and the fi:ame- work is of wrought iron, while the back part is covered over with linen, on which can be distinguished the painted arms of the barons of Spaeth ; part of the gilding still remains. Museum at Sigmaringen, German heaume, used in tourna- ments with maces, of the fif- teenth century. It belonged to the Count of Esendorf, who was killed at Biberach. Sceter Collection in the Maxi- milian Museum at Augsburg, * The mace, massette, and sword were equally used in military exer- cises and in tournaments. Large Bassinets without Vizors. 257 52. Bohemian bassinet, from the Voleslav MS. of the thirteenth century, in the library of Prince Lobkowitz at Eaud- njtz, in Bohemia. 53. German bassinet of the thirteenth cen- tury. It is eleven by eight and a half inches, and is in the Museum at Berlin. 54. German bassinet, of the end of the thirteenth century, found amongst the ruins of the Castle of Tannenburg, which was burnt in the fourteenth century. It has been copied and described by M. de Hefner-Alteneck. 55. Bassinet, either French or Italian,* of the fourteenth century, ornamented with twelve large screw-rings, with square holes for holding the rod on which the piece of mail was strung. This helmet was in the collection of the Count of Thun, at Val di Non ; M. Spengel, of Munich, has since dis- posed of it to the Count de Nieuwer- kerke. The great bassinet appears in the second half of the thirteenth century. It was of an oval-pointed shape, at first without either nose-piece or vizor, but with buttons, to which the mail shirt, used for a neck-guard, was fastened. ♦ More likely Italian, for the neck-guard is like that of the Venetian celata of the fifteenth century. 258 Large Bassinets with hinged Vizors. flt. Largfi German bassinet of the fourteenth century, m black iron, with movable mezail; the upper part of the vizor lifts up by means of a hinge. The 20 large screw - rings, which fitted into the square holes shown in the engraving, held the rod on which the piece of mail used as a neck- guard was strung. Collection of M. de Befner-Alteneck, 57. Large English bassinet of the middle of the fourteenth cen- tury. The vizor lifts up by means of a pivot, like those of the armeis of the sixteenth century. There is still a piece of the mail gorget left, which is fastened to the coUai. Warwick Castle. 58. Large bassinet with hinged vizor. Tower of London, Museum of Artillery, Paris, and in the collection of M. le Comte de Nieuwerkerke. These helmets are of polished steel, the crown is of pointed oval shape, and in one piece. The vizor comes very forward, so as to leave a large spaoa for the wearer to breathe freely. Bassinets with Vizors and Neck-guards. 259 59. Large English bassinet of tlie middle of the fourteenth cen- tury, with hinged vizor and fixed collar. Tower of Lon- don, and collection of M. de Benne at Constance. This helmet ie in some respects very like the preceding one. The salades (in German Schale, Schdllem, and Sche- lerri), which took the place of the bassinets in the fifteenth century, were distinguished particularly by their neck- guards, and by other cha- racteristics in which they are not imlike the iron hats. The salade was generally worn with the chin-piece, that was usually part of the high collar. It was worn sideways, so that the slit for the sight came before the eyes. 60. German salade-heaume of the fourteenth century, used in tournaments. It had a fixed vizoi, aod was worn straight. Miteeum of Artillery, Paris. 61. German salade of the fifteenth century in a single piece, and with a chin-piece. Collection of the King of Sweden, Charles XV. 2. German salade with nose-piece, of the fifteenth century. Collection of M. de Benne at Constance, Scdades. 63. Gennan salade in blackened iron, with movable vizor on a pivot, of the end of the fif- teenth century. It comes from the Chateaux d'Ort in Bavaria, and must have been worn sideways and with a chin-piece. Tower of London. A similar one in the Spengel Collection at Munich, that was originally in the coUectiou of the Comte de Thun at Val di Non. Salade with sight-piece in shape of a shell, with chin-piece of a peculiar form, and witli a high collar. Of the fifteenth cen- tury. Salade of the fifteenth century, with vizor and neck-guard ; it must have been worn sideways like the preceding one. The neck-guard is of the same piece, and is small. Museum at Prague. 66. Salade with crest, of the fif- teenth century, from the Isle of Ehodes. This helmet has an ornamented vizor, and the neck-guard is of the same piece as the helmet. It did not protect the face, and formed but an imperfect de- fence. The workmaiiship looks like early Italian. Salades. 67. German salade to be used in battle, copied from the statue of Duke William the younger, of Brunswick, a work completed in 1494. It has a iixed vizor, but movable chin-plate and gorget. Munden-Sanoverien, near Cassel. 68. German salade to be used in battle, of the fifteenth century. The crown is pointed, a very uncommon and perhaps unique shape. The vizor is hinged, and the neck-guard in plates of metal. The small print gives a front view. Mus^e historique of the Monbijou Falace at Berlin. 69. Same as above, but with elongated mentonniere or chin-piece, which forms a sort of gorget or high collar. 70. Fluted salade with front brim, which, according to the author, is of the six- teenth century, and comes from the Isle of Rhodes. Museum of Artillery in Paris, where it is said to be of the fifteenth century. The shape of the brim and the fluting would fix it in the first half of the six- teenth century, when these sorts of vizor were very generally in use. (See No. 125, Burgonet.) Salades. 71. English salade, from the Tower of London, where it is marked as being of fifteenth- century date; but from the singular shape I believe it to be counterfeit. 72. Venetian salade (celata Veneziana) and nose-piece, of the first half of the fif- teenth century. Meyrick Collection,, Renng' Collection at Con- stance, Nieuwerkerke Collection in Paris, and in the Tower of London. 73. Venetian salade with crest, but without nose-piece, of the second half of the fifteenth century.* The neck-guard of this helmet is larger than that of the preceding one. Meyrick Collection. 74. Venetian salade for archers, with crest, but without nose-piece. The neck-guard is smaller than that of the preceding one. H. 22, Museum of Artillery in Paris, and also in (he Tower of London. 74 A. Italian salade of the second half of the fifteenth century, from the bas-reliefs in white marble on the triumphal arch of Alphonso v.. King of Arragon, at •^i , Naples, which represent his triumphal entry into that city in 1443. 74 B. Italian above. salade with vizor, same aa * This helmet is not unlike the Greek .r,hoplite casque (see No. 9, page 110), but it has a neck-guard, which the other had not The point in the front forms a nose-piece, which is also to be seen in the celata Vene- ziana of the second half of the fifteenth cen- tury. Skull-caps and War-hats. 75. War-hat in iron (EUmhut in German) of the twelfth century, from the frescoes in the Cathedral of Brunswick, done in the reign of Henry the Lion, who died in 1195. 76. War-hat in iron, from the Bohemian MS. Voleslav, of the thirteenth century. 77. Skull-cap {Eiserikappe in German), from the German Mneid of Henry of Waldeok, a MS. of the thir- teenth century, in the library of Berlin. 78. War-hat, from an illumination in the MaTKSsis manuscript, of the end of the thirteenth century, which represents the death of Albrecht of Heigerloch, the Min- nesinger of the race of Hoheuzol- lem. Imperial Library, Paris. 79. War-hat in iron of the end of the fourteenth century, from a paint- ing at Saint-Michel in Schwae- bisoh Hall, copied by M. de Hefaer- Alteneck. 268 80. Same as above. 264 War-hats. 81. War-hat of the end of the four- teenth century, from a painting at Saint-Michel, at Sehwae- bisch Hall. 82. War-hat in iron, from a MB. at Constance, date li35, preserved in the Library of Prague. 83. War-hat in iron, of the fifteenth century. Museum of Copenhagen and Collec- tion of M. de Hefner-AUenecli at Munich. 84. War-hat in iron, of the fifteenth century. From a MS. in the collection of M. le Chevalier von Hauslaub at Vienna. 85. Skull-cap of the fourteenth and fifteenth centuries ; slightly oval shape, with chin-piece. From a MS. in the collection of M. le Chevalier von Hauslaub at Vienna, and from frescoes in the Cathedral of Mondo- neda, in Spain. The under view of these helmets, as seen in the pictures, leads one to suppose that the back part was rendered movable by means of a hinge or pivot, so as to allow the head to be inserted. ShuU-eajps and War-hats. 265 86. Skull-cap (Msenkappe in Ger- man) witli ear-plates, from a manuscript of the fifteenth century in the collection of M. le Chevalier von Hauslaub at Vienna. 87. War-hat with vizor, from the water - colour paintings of Glockenthon of the year 1505, which represent the arms in the Arsenals of Maximilian I. Anibras Collection. 88. Same as ahove. 89. Frame-work of pot-helmet. This helmet was used most probably in sieges, and was worn, like the heaume, over the ordinary helmet. 90. Wax-hat, German, of the end of the fifteenth century, from a cast in the Germanic Museum at Nuremberg. Its shape is almost identical with that of the iron hat, No. 83, copied from one in the collection of M. de Hefiier - Alteneck at Munich. Like it, the crown is made in a single piece. 266 War-hais and Pot-hdmets. 92. War-hat belonging to the Reformer Zwinglius, who was killed at the battle of Capel in 1531. Arsenal of Zurich, "y 93. War-hat of the end of the fifteenth — centmy. The principal ornament is in the shape of the Burgundy cross, and made of pierced copper. Eenne Collection at Constance. A similar one, with the exception of the cross, is in the Spengel Collection, Munich. 94. War-hat from the Theuerdanck, published at Augsburg at the commeucement of the sixteenth century. 'X>. German war-hat of the sixteenth centmy, surmounted by three large twisted ridges, and with movable ear-plates. This helmet is covered with red velvet, and was used principally for hunting. From the Spengel and Hefoer- Alteneok Collections at Munich. In the Arsenal of that city there is a similar casque, covered with black and yellow cloth, which are the colours of Munich. There are others in the Ambras Collec- tion, and in the castle of Laxem- burg. One in the Mazis Collec- tion, in the Museum of Artillery at Paris, is attributed to Henri IV. (1559 — 1610), whose initials it bears. The twists are richly orna- mented with trophies and other subjects, engraved and embossed. 96. Pot-helmet with ear-plates, of the sixteenth century. Arsenal of Munich. 97. Pot-helmet used in sieges, of the seventeenth century. H. 154, Musevm of Artillery, Pari*. SMI-caps and War-hats. 267 War-hat in iron, belonging to Charles I. of England (1625— 1649). It bears the mark of the armourer ] A. B. O. I Warwick Caetle. 99. War-hat in iron, of the seven- teenth century. Az Collection at Lintz. 100. War-hat in iron, with a socket for plume. It weighs about 27 lbs., and measures 12 inches by 16, and belonged to the Great Elector of Bran- denburg, who wore it at the battle of Fehrbellin in 1677. Berlin Museum. 101. Iron skull-cap with vizor. The outer part is perforated, and weighs 20 lbs. It belonged to Augustus the Strong (1670—1733). Museum of Dresden. 102. German skull-cap in iron, with vizor and nose-piece, of the seventeenth century. The neck-guard is of mail, and is covered on the outside with grey linen. Dresden Museum 268 Iron ShuU-cajps. 103. Skull-cap of the seventeenth century in thict iron, and the upper part open-work. Berlin Arsenal, J04. Skull-cap of imbricated scales, from a drawing by Holbein of the sixteenth century. Industrial Museum of Vienna. 105. Skull-cap of imbricated scales, in polished steel, with mova- ble nose-piece, cheek-plates, and neck-guard. The socket for the feather and several other parts are in gilt copper. It was worn by John Sobieski, King of Poland, before Vienna, in 1683. Museura of Dresden. 106. Frame-work of skull-cap in iron, of the seventeenth cen- tury. Museum of Prague. 107. Same as above. 108. Frame-work of skull-cap in iron, worn by French carabi neers inside their war-hats in 1680. Mu.seum of Artillery, Paris. 109. Frame-work of skull-cap in iron, for lining the interior of the war-hats. Museum of Sigmaringen. All these perforated or open- work skull-caps belong to the time when the helmet had been superseded by the war-hat, the latter forming an outer covering. Iron SkuU-eajas and War liafs. 110. German skull-cap iu iron, in- tended to be worn inside the iron hats, of the seventeenth century. Imperial Arsenal of Vienna. 111. Frame - work for lining the three-cornered hat of the eighteenth century. Historical Museum of the Monbijou Falace at Berlin. 112. War-hat, probably Italian, of the seventeenth century. It is in iron, has a chin-strap, and is studded with nail- heads in copper. Imperial Arsenal of Vienna. 113. German war-hat, which, ac- cording to the description given in Arsenal of Vienna, where it is preserved, was used in besieging castles and towns. The large brim pro- tected the face from the boiling Hquids that the be- sieged used in defence. The author, however, thinks that this sort of hat was only used at ceremonies, entries of princes, etc. 114. Iron hat with nose-piece, worn by the household foot-soldiers of King Louis XIV. (1643— 1715). H. 152, Museum of Artillery, Paris. 270 Burgonets. 115. Buigonet (Burgander helm in German) of the six- teenth century. This sort of helmet is known by the crest, shade, cheek- pieces, and neck-guard. 116. Burgonet of the sixteenth century, with gorget and menk>nni€re,or chin-piece, which make it very like the " armet." (See later.) H. 53, Museum of Artillery, Paris. 117. Burgonet of the end of the sixteenth century. (Same remarks as for the pre- ceding one.) Arsenal of Soleure. 118. Burgonet of the sixteenth century, formerly in the collection of the Castle of Laxemburg. Imperial Arsenal, Vienna. 119. Burgonet of the sixteenth century, with gorget, merdonniere, and movable vizor, which make it re- semble the armet. The workmanship is German, in engraved iron, and very beautiful. Ambras Collection. 121. German burgonet, from the " JDescriptions des Noces PriTieieres," etc., of Wir- zig, a work printed in Vienna in 1571. Industrial Museum of Vienna. 122. German burgonet-bassinet of the sixteenth century. It is chiefly noticeable on account of its pointed shape, and being without a crest. An Collection at Lintt, Burgonets. 271 120. Burgonet, splendid Italian work, in beaten iron, of the sixteenth century. In the Imperial Arsenal of Vienna, formerly in the Castle of LazembuTg. It is the finest specimen that exists of this sort, and has been satisfactorily photographed at the Industrial Museum of Vienna. 272 Burgonets. 123. Burgonet of the seventeenth century. Tower of London. J 24. Burgonet-cabasset of the be- ginning of the seventeenth century, in blackened iron. It has a peak, cheek-pieces, neck-guard, but no crest. The crown is pointed, like that of the cabasset. Arsenal of Geneva, 125. Burgonet used at sieges, of the end of the seventeenth cen- tury. It is of very thick iron, and has a flat neck - guard and peak. H. 76, Museum of Artillery, Paris. 126. Burgonet-skull-cap, German, of the beginning of the seven- teenth century. It is covered with red velvet. Gudf Museum at Banover. 126 his. Burgonet-skull-cap of the seventeenth century. A sort of vizor, in the shape of a trident, is fastened on to the peak, and the neck-guard is of metal plates. Tower of Londwi. 273 127. BnTgonetskuU-capof the seven- teenth centuiy, mth nose- piece, Polish. These casques, on account of the kind of fan on each side of the crown, resemble those of the winged cavalry (Jazala ShrzycUaid) of Sobieski. Mvseiim of Dresden. 128. Burgonet skuU-cap in iron, with movable nose-piece and plated nedk-guaid, called zticchetto. It is of Hungarian origin, and was called dschycJcso. No. 366, Boyal Arsenal of Turin. 129. Burgonet skuU-cap, with cheek- pieces, nasal-vizoT, and plated neok-gnard, of the middle of the seventeenth century. This helmet, which is in the Ar- senal of Soleure, is wrongly said to have belonged to Vengi (1540). It is in en- graved iron, and studded with copper nail-heads. 130. Burgonet skull-cap, with cheek- pieces, and long plated neck- guaid. It is said to have belonged to Charles de Tyrol, who died in 1662. ATribras CdUection. 274 Bwffonets. 131. German burgonet of the seven- teenth century. It has a fixed nose-piece, and the front part is like that of the aimets. H. 56, Museum of Artillery, Paris. 132. Buigonet of the seventeenth century, with plated neck- guard, in the Meyiick CoUec- leotion, where it is said to he of the fifteenth century. The front and back of this speci- men have been engraved, in order to show the double line of ornaments on the back, resembling flutings. 133. English burgonet of the seven- teenth century,in the Dresden Museum, where it is errone- ously attributed to Edward IV. (1461-1483). According to common tradition it was originally in the collection of the Tower of London, and was given by William III, to John George I. The peak, the plated neck-guard riveted with gilt nail-heads, as well as the tinsel ornaments of the crest and the plume-clasp, show at first sight that we must assign this piece of workmanship to the latter half of the seventeenth cen- tury. 134. Morion {Morian in German). This ia an Italian casque for a foot-soldier of the sixteenth century, from the Arsenal of Geneva, and formerly be- longed to the Savoyard cap- tain ChaffardiQ Branaulien, who was killed before the walls of Geneva, during a night attack. It is richly engraved in a very artistic style. Autlior's Collection. 135. French morion of foot-soldier, of the end of the sixteenth century. It is also engraved. Tower of London. 136. German morion of the end of the sixteenth century. The fleur-de-lys in embossed work on the front of the helmet was the badge of the civic regiment of the city of Munich, and is the symbol of the Virgin, having nothing to do with the arms of the kings of France. Arsenal of the town of Municli, and Imperial Arsenal of Vienna. 137. German morion, from the "De- scriptions des Noces Prin- cieres" of Wirzig, published at Vienna in 1571. Industrial Museum of Vienna. The morion of the suit attri- buted in the Louvre to King Henry IV. of France (1559- 1610). It is rather higher, and the rims narrower and van- dycked. (See p. 266, No. 95). 137 A. Same as above. 276 Morions and Oalassets. 138. German morion of the sixteenth century. This shape is rare. Arsenal of Munich. 139. German morion of the end of the sixteenth century. In the National Museum of Bruns- wick, where it is described as being of the twelfth century. The large screw on the top distinguishes it &om the usual morions. 140. Cabasset, or pear-shaped casque (JBimenir'helm in German), of the sixteenth century ; richly engraved iron, with socket for plume. Collection of M, le Comte de Nieur we/rkerke. 141, German cabasset with cheek- pieces, in engraved iron, of the sixteenth century. This same shape, but with a slightly different rim, was very much in use in France and Italy. Ariemal of Mimidk, 142. Italian cabasset for foot-soldier, of the sixteenth century, in iron, beaten, chased, and da- mascened in gold. The sub- ject represents Perseus and Andromeda. It is a very fine specimen. H. 100, Museum of Artillery, Fans. 143. Italian cabasset for foot-soldier, of the sixteenth century. It is richly engraved, and pointed. Tower of London, 144. German cabasset ia blackened iron, with socket for plume, of the sixteenth century. The only ornaments on this helmet are copper nail-heads. Collection of M. le Gomte de Nieu- werherke. 145. Italian cabasset in embossed iron, of the sixteenth century. It is a very beautiful specimen of workmanship. 278 Armets. 146. Aimet (Visier-helm* in Ger- man) of the second half of the fifteenth century. The armet is the most perfect form of helmet. It is composed of the crown with crest, the vizor, nose-piece and ventoyle (these latter three forming altogether the mezaiV), and the gorget. H. 28, Museum of Artillery, Paris. 147. Armet of the sixteenth century, in iron, with real ram's horns. '^ It formed part of the armour of the jester of Heniy VIII. (1509-1547). Tower of London, 148. Armet with small plumes, of the sixteenth century, from the Weisskmdg. 149. Armet of the sixteenth century, in tooled leather. The lower part of the mezail is wanting, as also the vizor. Arsenal of Geneva. It is the only helmet of this kind known to the author. * From this word the English helmet is presumably derived. Armets. 279 150. Aimet with fluted crown, and vrith Tizor moving on a pivot, part of a suit of Maximiiian's time, of German workman- ship, of the first half of the sixteenth century. Imperial Arsenal of Vienna. A similar one is in the author's col- lection. 151. German armet of the sixteenth century, from the Triomphe de MaximMien, by Burck- mayer, lq 1517. The vizor turns on a pivot, and the lower part is in the shape of an eagle's beak. 152. Aimet with vizor on pivot, and high mentonniere (Sarthaube). German work of the second half of the sixteenth century. It is richly engraved and damascened. Imperial Arsenal of Vienna. 153. Armet with vizor on pivot, and high mentonniere. German work of the second half of the sixteenth century. This helmet is richly engraved. Imperial Arsenal of Vienna. 280 Armets and 154. Arinet of the end of the six- teenth century. The dome is in embossed work, and repre- sents a maritime subject, and the vizor is latticed. Boyal Armoury at Mad/rid. 155. Italian armet of the end of the sixteenth century. It is richly chased in all parts. Museum of ArtUlery, Paris. 156. Italian casque, copied from tho antique, called caschetto, of tho sixteenth century, in iron beaten work, chased and damascened. It is a splendid specimen. H. 131, Mmewn of Artillery, Paris. 157. Italian casque, of a shape called antique, but much resembling the burgonets of the middle of the sixteenth century. For- merly in the Imperial Library, now in the Museum of Ar- tillery, Paris, marked H, 129. Antique Casques. 158, Casque, called antique Eussian, /si but whose workmansliip appears thorougbly Italian. Museum of Tsarskoe-Selo at St. Peters- 159. Swiss armet, of the beginning of the seventeenth century, in po- lished iron, belonging to the cavalry regiment of the city of Geneva. fj) Arsenal of Geneva. 160. German armet of the first half of the sixteenth century. The vizor represents a man's face with moustaches. '60 Meyrich CoUeotion. 161 . Turkish casque with movable nose- piece, in iron damascened with gold, of the fifteenth century. It belonged to Bajazet II. H. 173, Museum of Artillery, Paris. 162. Turkish casque of the fifteenth century, found at Ehodes. H. 180, Museum of Artillery, Paris. 163. Albanian casque, attributed to Prince George Castriota (Scan- derbeg), who died in 1467. The goat's head and the other orna- ments are in copper. m 282 Different Casques. 164. Turkish casque of the sixteenth century, formerly belonging to *^" ao™oi^u, Soliman. This helmet X uiii.iaii utiaque oi ni« isi- formerly belonging to the golilpfiTi TTiia hplnn piece, Meyrick Seraskier has a nose- .man. This helmet has a nose- le, cheek-pieces, and neck-guard. Meyrick CoUecHon. 165. Iron casque with copper studs, worn by Jean Ziska * (1420), in a picture now iu the library of Geneva. It is uncertain whether the painter copied this helmet from one of the time, or drew it from fancy. 166. Persian casque, from a MS. of about 1600, a copy of the Schah Nameh, or Eoyal Book, a poem composed by Per- dusi, in the reign of Mahmoud (999- 1030). 1 67. Mongolian casque, probably of the fifteenth century. G. 138, Museum of Artillery, Paris. 168. Indian casque from Delhi. The nose- piece is movable, and the neck-guard is composed of small metal plates. * Ziska (one-eyed), the chief of the Hussites, or Taborites, was born in 1360, died in 1424 ; he lost his remaining eye in 1421. The hinged plate on the side concealed the cavity of the left eye, which he had already lost before the death of Huss. Bifferent Casques. 169. Mongolian casque in iron, damascened with gold, with movable nose-piece and V neck-guard. Fomid in tlie battle-field of Koulikowo (1380). Tsarskoe-Selo Mueeum at St. Peterebu/rg. 170. Eussian casque with movable nose-piece and neck-guard, of the fifteenth century, richly ornamented in gilt copper. H. 176, Musewn of AriiUery, Paris. 171. Eussian casque with cheek-pieces and "' movable nose-piece, and large neck- guard. Tsarskoe-Selo Musenim at St. Petersburg. 283 172. Hungarian casque of the sixteenth cen- tury, with cheek-pieces, neok-guard, and nose-piece. This helmet belonged to the hero Nicolao Zrinyi, who was buried under the ruins of Sigeth, in 1566. Ambras Collection. 173. Italian casque, or burgonet, belonging formerly to Asoanier Sforza Pallavicino, who took an important part in the naval battle of Lepanto, in 1571.* Tsarskoe-Selo Museiim at St. Peterebwrg. in m 174. Pot-helmet with cheek-pieces, neck-guard, and movable nose-piece, in thick iron, engraved, gUt, and ornamented with shell-like moimtings and gilt studs. It belongs to the seventeenth century, and the screw of the nose-piece is in the shape of a fleur-de-lis. Arsenal of Soleure. * There is a celebrated tragedy on this subject by the German, Komer. /J^ Different Casques. 175. Savoyard armet in blackened iion, 0/ the beginning of the seventeenth century. It was taken from the troop of Branauhen Chaifardin, who was killed in 1602 before the walls of Geneva, which city he attempted to surprise. Arsenal of Soleure, and Author's Collection. 176. PoUsh casque, with winglets, of the seventeenth century, worn by the troops under Sobieski, who were called winged cavalry (Jazala Skrzydlata). (See No. 127 in pre- ceding pages.) Taarskoe-Selo Museum at St. Petersburg. 177. Casque of French soldier under Henri IV., known as a Spider helmet. It has a peak or flat vizor, with iron strips or ribbons all round. Tower of London, 178. German tilting casque of the begin- ning of the seventeenth century. This helmet has a crest and neck- guard, and is provided with a screw for festening to the placcate in &ont. It is rather like the salade of the fifteenth century. H. 135, Museum of Artillery, Parit. 179. Armet of the beginning of the seven- teenth century. This helmet is veiy Hke the Savoyard helmet, STo. 175. Tower of London,, Different Casques. 285 180. Indian casque with neck - guard, cheek-pieces, and movable nose- piece. It is ornamented with pre- cious stones, and the work is very beautiful. Tsarskoe-Selo Mttseum at St. Petersburg. 181. Polygar casque of Central India, with fixed nose-piece, cheek-pieces, and very long neck-guard, or mail hood. Meyrick Collection. 182. Mahratta casque (Indian). Thi6 helmet has a long movable nose- piece of a singular shape, a large mail hood, which protects all the head, and a neck-guard like a tail, which descends to the loins. Meyrick Collection. 183. Mongolian casque, with peak crest and socket for plume. It is very beautiful, and richly ornamented with damascened work. Tsarshoe-Selo Museum at St, Peterslurg. ttl 286 Different Casques. m 184. Japanese casque with neok-guard; from the Imperial Library, now in Museum of Artillery, Paris, No. 183. A bronze Samnite helmet in the Museum of Erbach is very like it in (See p. 122.) 185. Japanese helmet in lacquered iron, of a shape actually in use at the pre- sent day. It has a fixed nose-piece and neck-guard ; the mask protects the entire face. G. 140, Museum of Artillery, Paris.* 186. Conical Chinese helmet with peak. Tower of LoncUm. 187. Casque in gold and precious stones. It belonged to the Emperor of China, and was taken at Peldn in 1860. G. 142, Museum of Artillery, Paris. * A similar object of modern date is in the South Kensington Museum. The Shield. 287 It should be remarked that the Chinese and Japanese hehnets have remained unchanged during several centuries, so that these arms have not the same interest as attaches to European arms of different historical periods. THE SHIELD OR BUOKIEB. This portion of the armour, which derives its name from the old German word Buckel, boss, and leder, leather, and not from the Celtic word bwa, to cover, an etymology often as- signed to it, was origiually called seilt in German, but at the present day scMld. We have already noticed what were the shapes of the ancient bucklers, and we have seen that they underwent very little variation. The most ancient shields of the nations of the Germanic race (Franks, Saxons, Alemanni, and Burgundians) were large, square-shaped, and made sometimes of wood, but more often of osier branches covered with bronze plates. During the iron age the bucklers were circular, and usually with a boss in the centre, called ia French ombilie d'uTribo, in Gterman schildnahel or schildbucJcel. The cover of the Antiphonary of Saint Gregory, which was made iu the eighth century and is preserved at Saint Gall, represents combatants armed with small square shields with pointed bosses ; but the character of this piece of carving ia certainly of earlier date ; it is probably taken fcom a dip- tych. The Leges Longobardorum, a MS. of the ninth century, represents the king carrying a long German targe, which we meet with again in the fourteenth century ; whilst the Codex Awreus Evangelicus of the ninth century, as also the Wesso- brunn MS. of the same date, show us the rondache with a boss to it, a shield that is also to be seen in the Prudenthis and Psalterium MSS. of the tenth century, in the Libraries of London and Stuttgardt, as likewise in the Bayeux tapestry of the eleventh century, where the pear-shaped buckler, slightly tapering towards the base, and sometimes as high as a man, seems to have been the shield of the Norman, and the rondache, or round buckler, that of the Anglo-Saxon warrior. One may also see in the Prudentms PsycliomacMa, a MS. of 288 The Shield. the tenth century, in the Library of the British Museum, Anglo-Saxon warriors armed with circular bossed targets; but a knight in the Biblia Sacra, of the tenth century, carries already a small targe, a shield that was not in general use till the reign of St. Louis (1226-1270V The Duke of Bom-chard of Swabia (965) is represented in the basilica of Zurich with a shield not unlike the Norman ones in the Bayeux tapestry mentioned above ; and this same sort of shield is borne by a horseman in a bas-relief in the cloister of Saint Aubin at Angers, and by one of the foimders of the Cathedral of Naumbourg of the eleventh century. The Count of Barcelona, Don Eamon Berenger IV. (1140), is represented on his seal bearing the same sort of shield that is to be seen in the frescoes in the Cathedral of Bruns- wick, painted in the reign of Henry the Lion, who died in 1195. These large shields always had two armlets (Hand- griffe in German), whilst the ancient shields, and more especially the Greek, had only one. The long shields had besides a guige, or strap {Hanghand in German), by which to suspend them from the left shoulder, the point of the shield towards the rear. The earliest Germanic shields were large and square, but not a single uninjured specimen has reached us. They appear to have been padded inside ; the framework was usually made of wood covered with leather, and painted with gro- tesque figm-es, while the whole shield was bound round with iron. These shields gave rise to the use of the first armorial bearings, as we have seen in pages 47 and 48 of the his- torical chapter. Several remains of these shields are repre- sented in the chapter on arms of the iron age, and also the little round buckler of the Franks. The small targe or triangular buckler seldom appears before the thirteenth century in France ; that is to say, before the reign of Saint Louis : this shield was as wide as it was long. The buckler used in Germany at this period was larger, as may be seen on the statue of Henri II. on his funereal monument in the Church of Saint Vincent at Breslau. The English buckler of the fourteenth century was very like the small targe, and was only two feet in length. After this the small rondelle, or round shield, appears ; it was only a foot and a quarter in length, and remained in use till the sixteenth century. The Shield. 289 The BtLrgundian shields of the heginning of the fifteenth century (see p. 291, No. 13) were usually triangular, and reached to the shoulder. The pavois, of German origin, in which may be recognised the primitive form of the most ancient Germanic shields, was slightly rounded at the top and square at the bottom, and appears about the fourteenth century. The long targe,* in wood and skin, of the same epoch, is easily distinguished from the little targe of the fifteenth century, which was hollowed out at the edge. In the sixteenth century, when in Germany, as well as elsewhere, the shield was almost out of use, may be seen some heart-shaped, but with three points at the top. It was also about this same time, that is, about the end of the fifteenth century, that the placcates, the rondaches, the rondelles, and iargettes with a hook, were used. Many of these were finished with great care, and bear evidence of master hands having been employed on them. The greater part of the Italian rondaches that were chased and orna- mented in embossed work were not meant to be used in com- bat, but were rather part of the pride, pomp, and circumstance of war. * Targe is derived from the Arab word dardy and tarcha. At the present day, at Toulon and MaraeilleB, the shield that the saUora use in naval sports is called a targe. 290 Different Shields. 1. Shield, Oriental, (?;* from the Theodosian column erected to the Emperor Theodosius, sur- named the Great, born in 346, died in 396, the year of the commencement of the Eastern Empire. 2. Square and convex shield with boss, from the Antiphonarivm of Saint-Gall of the eighth century. 3. Shield or rondache with boss, in use from the eighth to the eleventh centuries, represented in the MSS. of Wessoh-unn, a.d. 810 ; the Aureus Evangelicus of St. Emeran, 870; the Codex Aureus, ninth century ; the Pru- dentius Psycliomachia of tlie tenth century ; the Aelfric and the Bayeux tapestry, etc. 4. Lombard-German targe of the ninth centiory, from the Leges Longohardorvm. 5. Buckler of the tenth century, called in France " Norman " buckler, from a statuette in the collection of M. le Comte de Nleuwerkerke. 6. German shield of the eleventh century, from the Jeremiaa Apocalypsis. 1. Norman shield, from the Bayeux tapestry. 8. Norman shield, back view, show- ing the armlets and the strap, used for suspending it from the left shoulder. * The crescents do not prove that this shield is of Mussulman origin, for Mahomet was not bom till AX. 570. Different Shields. 291. 9. Small German targe of the twelfth century, 18 inches long, from a coin of the time of Henry the Lion, who died in 1195. 10. German convex shield, about 32 inches in length, from the frescoes in the Cathedral of Brunswick, painted in the reign of Henry the Lion, who diediuU95. 11. German shield, about 2 feet in length, from the frescoes in the Cathedral of Brunswick. 12. Shield of the twelfth century, about 21 inches by 30, from a tombstone found in the con- vent of Steinbach, now in the chapel of the Castle of Erbach. 13. Triangular shield, from the MS. of Tristan and Isolde of the thirteenth century. It was also used in the Burgundian equipment of the fifteenth century, as will be seen on reference to the MS. in the library of the Arsenal of Paris. 14. Small targe used in the reign of Saint Louis (1226-1270). 15. Semi - cylindrical targe with round boss, of the thirteentli century, from an illumination of the period in the British Museum. A similar targe, but without the boss, existed in the equipment of the fifteenth century, as a speci- men in the same museum proves. (See also No. 4, Lom- bard targe of the ninth cen- tury, preceding page.) 292 Different Shields. 15 E. German targe with sight- holes, of the end of the foii> teenth century, from a picture in the cliurch of Saint-Michel at SehwaebiBoh-Hall. 16. German targe with sight-holea, of the end of the fourteenth century. CaihedraZ of Bamberg. 17. Same as above. 18. Spanish targe of the end of the fourteenth century, from a mural painting in the Cathe- dral of Mondoneda, represent- ing the massacre of the Inno- cents. 19. German shield, about the height of a man, from the picture of a single combat called the Judgment of God in the Codex of the maitre d'armes of Tolhofer, of the fifteenth cen- tury. 20. Spanish shield, from an illumi- nation of 1480. 23. Shield from a woodcut of the fifteenth century. Cabinet of Engravings at Munich. 22, Hispano-Mussulman shield of the fifteenth century. The Museum of Artillery in Paris possesses a similar targe in leather. (See p. 296, No. 45.; Shields (Pavois). 29& 23. German shield, from the Tlieur- danck published at the com- mencement of the sixteenth century at Augsburg. 24. Shield in steel of the sixteenth century, about 2 feet high, ornamented with two coats of arms engraved, and studded all romid with large screw-heads. Historical Mmeum of the Palace of Monbijou at Berlin. 25. German shield, termed pavoie d'assaut (SetzscMld or Sturm- wand in German), 51 inches by 76, of the fifteenth century. It is of wood covered over with leather, painted red and yellow. The points and the inside mountings are of ii'on. Mmeum of Sigmaringen. 26. German pavois d'assaut of the fifteenth century, 44 inches by 72, of wood covered over with leather. The painting, which is in black and white, repre- sents the arms of the city of Eavensburg. Arsenal of Berlin. 27. German pavois d'assaut of the fifteenth century. Museum of Artillery, Paris. 294 Shields and Targes. 28. Swiss pavois d'assaut. 72 inches in height, of the end of the fifteenth century. Arsenal of Berne. 29 and 30. German pavois d'assaut, 26 inches by 45 inches, of the fifteenth century, from the ancient arsenal of Ens, in Austria. The painting is a representation of St. George. Az Collection at Lintz. It is a valuable specimen on account of the beauty of the painting, and its capital preservation. 31. Swiss or German targe (rorfeo/ie in German), 19 inches by 40, of wood covered over with leather. It is smaller than the pavois d'assaut, is rounded at the bottom, and has only one iron point. It was probably the buckler of an archer. Arsenal of Berlin. 32, German targe, with three longi- tudinal bosses of wood, covered with hide. Museum of Sigmaringen. Shields and Targes. 295 33. German tilting targe of the end of the fifteenth century ; side, rear, and &out views. It is of wood and skin, and orna- mented with painted decora- tions, and belonged to the Ijandgrave of Thuringia. CatJiaiTtdrSj' Marbwg. 34. German targe of the fifteenth century, in wood and iron, ornamented with painted de- vices. Tmoer of London. 35. German fluted targe of the fifteenth century, 26 iuches in length, in wood and leather. Museum of Artillery, Fans. 36. German tilting targe of the fifteenth century, wood and leather, 14 inches by 16. Museum of Artillery, Paris. 37. German tilting targe of the fifteenth century, in wood and leather, with an inscription, and painted in polychrome, with the representation of a tournament, which is very re- markable in an archseological point of view, on account of the helmets worn by the knights. Museum of ArtMery, Paris. Targes. 38. German targe in wood and leather, painted and silvered , copied from the water-colour drawings painted by Gloek- enthon in the first part of the sixteenth century, illus- trative of the arms and suits of armour in the Arsenals of Maximilian I. Ambras Collection, Vienna. 39. Targe, silvered. Am^as Collection, Vienna. 40. Targe, painted and silvered. Amhras Collection, Vienna. 41. Targe, painted and gUt. Ambras Collection, Vienna. 42. Small targe, convex, of the six- teenth century ; probably Spanish. Armerial of Madrid. 43. German targe of the sixteenth century, 32 inches by 36. It is of wood and cloth, decorated with painted designs. Museum of Cluny. 44. Moorish targe. Armerial of Madrid. 45. Spanish-Moorish targe (adarga), of the end of the sixteenth century, entirely of supple leather, 30 inches by 38. (See No. 22, preceding pp.) Museum of Artillery, Paris. Targes. 46. Gierman target, termed Rondache, with gauntlet and lantern, of the fifteenth century. It was used for night comhats. I. 35, Museum of Artillery, Paris. In the Arsenal at Hamburg there is a similar target, with a lantern but no gauntlet. (See also at page 301, No. 61.) 47. Italian target of the fifteenth cen- tury, in wood and leather, orna- mented with polychrome paintings. The Arsenal of Lucerne possesses twenty-one of these shields, taken by Frischhaus Thelig of Lucerne, in the battle of Jornico (Gomis), in 1478. On it are painted the arms of the first Duke of Milan, Giovanni GaleazzoTisconti, whose initials, surmounted by a crown, are visible. 48. German target of the end of the fifteenth century, from the water- colour drawings of Glockenthon, mentioned aboye. Ambraa Collection, 49. English iarget of the beginning of the sixteenth century. In the centre of this shield there is a small hand-caunon, with sliding chamber and match, something like a veugkdre. The Tower of London possesses twenty-five of these targets, mention of which is made in the inventory made in the reign of Edward VI. (1547). 298 Targes. SO. Small target with sword-breaker and arm-guard, in one piece of iron. Mueeam of Artillery, Paris, and Imperial Araenal of Vienna. 51. Italian target of the sixteenth century; it seems only for show. It is in high-relief embossed work, and in one single piece. Museum of Turin. 52. Target of foot - soldier in blackened steel, size 2 feet by li, of the seventeenth century. This shield, which weighs 12 lbs., has a sight-hole and a slit for the sword. Meyrick Collection. [Engraved in reverse.] Shields and Targes. 53, Italian ehield of the sixteenth century, 28 inches in length, with a sword, 20 inches in length. The engraving re- presents the back view. Museum of Dresden, 54. German shield of the sixteenth century in blackened iron, about 20 by 24 inches. It is in the shape of a heart, the centre part curving inwards. CoUedion of the Caatle of Lowenberg or WilhelmshBhe, near Cassd. 55. Small round German hand shield of the fifteenth century, from engravings of the time. Cabinet of Engravings at Munich. 300 Small Shields. 56. Small hand shield of the middle of the fourteenth century, called pamidenne, from a carving on a comb made at that time. 1 foot J inch in diameter. J-3 57. Small German hand shield, about a foot in diameter, of the end of the fifteenth century. Arsenal of Munich. 58. Small hand shield with hook for sword - breaking ; it measures about 11 inches diameter, and is of the end of the fifteenth cen- tury. Meyrich Collection. 59. Small hand target in steel of the fifteenth century, about 10 inches in diameter. It is said to have belonged to the Earl of Eich- mond (Henry VII. of England, 1485). J. 5, Museum of Artillery, Paris, Small Shields. 60. Turkish small hand shield of iron, of the sixteenth century. The word Allah (God) is engraved on it. Many arms coming from the Arsenal of Mabmoud II. are similarly marked. Historical Museum of the Palace of Monbijou at Berlin. A similar ob- ject exists in the Erbaoh Museum. 61. Iron hand shield, Grerman, about 14 inches in diameter. It has a dart and a lantern, which shows that it was used at night. Museum of the Guelphs at Hanover. See page 297, No. 46, for targets with lanterns. 62. Small German hand shield of the six- teenth century, from the Triumph of Maximilian, by Burckmayer (1517). 63. Small hand target made of the elk's horn, with an iron escutcheon; be- longing to the second half of the fif- teenth century. L ^ Mttsewm of Artillery, Paris. 302 Small Targes. 64. Small German target with gauntlet, of the first half of the sixteenth century. It be- longed to the Count of Heuue- berg, and is now at Meiningen in Germany. 65. German target with gauntlet, of the sixteenth century, Musewm of Turin. 66. German target with gauntlet and hook for breaking the adversary's sword ; of the six- teenth century. Historical Museum in the Palace of Monhijou at Berlin. 67. Small German hand target with a hook for breaking a sword, about 8i inches in size. Meyrick Collection. The engraving represents both sides. A similar one exists in the Collection of M. le Comte de Nieuwerkerke. 68. Small German hand target of the end of the fifteenth cen- tury. (Exterior view.) Historical Museum of the Palace of Monhijou at Berlin. 69. SmaU German hand shield with hook for breaking the adver- sary's sword, of the end of the fifteenth century. Museum at Erhach. Fagecmt Shields. 303 70. German pageant shield of the sixteenth century, made at Augsburg. It is ornamented with medallions and trophies in embossed work, very beautifully executed. The fringe all round is fastened with screws and is quilted at the back. Ambras Collection, Vienna, 304 Pageant Shields. 71. German pageant shield of the sixteenth century, probably made at Augsburg. The ornaments on this shield, which are very beautiful, indicate by their workmanship that the shield was made at the end of the sixteenth century or beginning of the seventeenth. The trophies are like the work of the French artists of the reign of Henri IV. Amhras Collection, Vienna. 306 Pageant Shieldi^. Pageant Shields. 307 German pageant shield in embossed iron, of the sixteenth century ; it belonged to Charles V. This piece of defensive aimour, which is one of the most perfect specimens of this style of German art, has been several times counterfeited and sold at a high price to purchasers who have not seen the original. One of these imitations was brought into France and purchased by the late Baron o£ Mazis, to whom it had been represented as a first-rate Italian work of art. The real shield, which is in the Ambras Collection, is, however, characterized by a beauty of design and a delicacy of workmanship which disheartens even the cleverest imitators. The subjoined sketch gives but a very imperfect idea of the beauty of this artistic work. It has been already stated that these sorts of arms were not iutended as instruments of warfare, but only to be worn on gala days, when the nobles rivalled one another in the magnificence and artistic richness of their equipments. Italy was especially famous for this kind of work during the whole period of the Eenaissance, and her most favoured and celebrated artists furnished designs, and often themselves manufactured these splendid arms, which now embellish collections by their beauty of design and exquisite finish, but which hardly answer the purpose for which weapons are generally made. 308 Pageant Shields. German pageant shield in embossed iron, of the sixteenth century. Its execution is of the most finished nature, and the design may be taken as a characteristic type of a master engraver's composition in Germany at tliat period. Ambras Collection at Vienna, 309 COATS AND OUIBASSES. HAUBERKS OB COATS OF MAIL, EINGBD, EUSTKED, MAOLED, AND TEBLLISED. COATS OP MAIL AND SCALE AEMOrrK. BEIGANTINB JACKETS. GAMBOISONS. bishops' MANTLES OE MAIL TIPPETS. OUIEASSKS, BUFF COATS, ETC. The history of the changes in armour during the Middle Ages, the Eenaissance, and the seventeenth and eighteenth centuries has been already treated of in the second chapter of this work, but the different kinds of armour have yet to be described. The coat of mail (from the German Kutte), which preceded the armour composed of plates, either of leather or steel, was called hauberk (from the the German Halsberge), neck-pro- tector ; it was also called Briinne, Brunica, and Panzerhemd. The small hauberk, which afterwards became the dress of the squire or of the poorer class of gentlemen, was in the eighth century worn by all knights, as the Godex Aureus of Saint Gall bears evidence. This hauberk was a kind of jacket in scales, which did not descend much lower than the hips, the sleeves of which were rather loose, and ended before reaching the elbow. The large hauberk, in the shape of a frock, and with the " camail " or hood, at first reached just to the knee, and the sleeves or loose arm-guards a little below the elbow, like the hauberk represented in the Martyrology, a manu- script of the tenth century in the Library of Stuttgard, and also in the Aelfric, an Anglo-Saxon manuscript of the eleventh century in the Library of the British Museum. As for the equipment of the German knight in the " Jeremias Apocalypsis" of the eleventh century, in the Library of Darmstadt, it is a hundred and fifty years in advance of what we know to have been worn at that time ; for according to the embroidery on the mitre of Seligenthal and the Bayeux tapestry, which are both of the eleventh century, the large hauberk, which the " Jeremias " represents as having already long sleeves, with hose and leggings in separate pieces, was stUl worn in all other countries perfectly close-fitting, the leggings in one piece with the hauberk, and the sleeves short. The defensive armour of this German knight in the " Jeremias " of the eleventh century does not appear either in England, France, or Spain, until the twelfth, when similar 310 Coats and Cuirasses. costumes may be seen on the seals of Eichard I., Cceur de Lion (1157-1173), of Louis VII. the younger (1137-1180), and of the Count of Barcelona, Don Eamon Berenger IV. (1140). The hauberk, before the use of mail became universal, was made in many different ways. The most ancient was probably the ringed hauberk [Beringt), in which the defence consisted of rings of metal sewed flatly, side by side, on coarse leather, or padded stuff. The "rustred" hauberk (Bekettet) was protected by oval flattened rings, overlapping each other half way. The " macled " coat (BescMldet) was composed of small lozenge-shaped plates of metal. The trellised coat (Benagelt) was made of leathern thongs trellised in and out over the stuff or skin of which the coat was composed ; each interstice was strengthened with a riveted nail-head. The "jazeran," or "korazin,"* was the large imbricated hauberk, that is to say, covered with overlapping (Oeschuppt) plates, like the small hauberk of the eighth century, of which we have already spoken. The coat of mail, or chain mail hauberk (Keiten, or MaschenpanzerJiemd), was composed entirely of mail, gene- rally in iron, without a lining of leather or stuff, and with- out either a right or wrong side ; it thus formed a complete tissue of iron which might be put on like a shirt, the rings of which were riveted piece by piece, and were called grains d'orge. There are two kinds of this work, the single and double mail ; Chambly (Oise) was celebrated for the manufacture of the latter. The double mail, like the single, always shows us each ring joined to four others. The coat of mail in France dates much farther back than the time of the Crusades, to which date most compilers con- sider it incumbent on them to assign it. It was not the Crusaders who, on their return from Jerusalem, were the first to introduce it into their country ; the coat of mail was well known before the eleventh century. The Byzantine prin- cess Anna Conmena was acquainted with it only from seeing it worn by northern warriors. (See her Memoirs.) * The name is probably derived from Khorassan, a country in tlia Empire of Persia, Coats and Cuirasses. 311 The coat of mail is still worn by the Indians, Persians, Chinese, Japanese, Mongols, Mahrattas, Poly gars, Cir- cassians, and other people whose civilisation is still rather backward. These coats are often without rivets, like the counterfeit Parisian coats, but there are also riveted coats of Persian and Circassian manufacture ; all this, however, has no interest in an archseologioal point of view. The "jacket" was a kind of small hauberk, not descending farther than the hips, and made in various ways, like the large hauberk. The " brigantine " was a jacket composed of small plates of metal, somewhat in the style of the macled coats, and im- bricated ; these plates were riveted underneath the stuff, so that the outside, generally made of velvet, lined with linen, shows a quantity of small rivets, like copper-headed nails ; thus the armour is next the body. The brigantine jacket (Italianische Panzerjacke) was most generally worn in Italy during the fifteenth century. It was the favourite coat of Charles the Bold. By the gamboison, or gambeson, was meant the doublet of leather or linen cloth without sleeves, and quilted so that it was entirely covered with stitches. The high gamboison, with cuishes and leggings, which ia the fourteenth century was worn under the earliest suits of plate armour, and the only specimen of which is at present in the Museum of Munich, was also in leather or linen lightly quilted, and was worn with the breastplate, waist-piece, and the sides of the knee- plates armed with mail, so as to compensate for the defects of the armour. The bishop's mantle, or mailed cape, was often worn over the cuirass, particidarly in Italy during the fifteenth century. The cuirass (Kiirass), from the Italian word corazza, de- rived from the Latin corium, probably on account of the first Roman cuirasses having been made of leather, was composed of two pieces : the breastplate (JBrustplMte), to protect the chest ; and the back-plate (Suchenplatte), to protect the back. The line down the centre of the breastplate is called tapul (Graete), centre-ridge, or salient ridge. The breast- and back-plate are generally fastened together by leather straps passing over the shoulder and gorget. The shape of the cuirass, as also of the other pieces 312 Ooais and Cuirasses. of a suit, always enable us to fix its date and place of manufacture with tolerable certainty. The Gothic breast- plates, as well as those of the beginning of the sixteenth century, are sometimes pointed, and sometimes more or less rounded, but generally imitate the peaceful costume of their respective times. The reader will find fuller information respecting ths various changes undergone by the cuirass in the historical chapter, as well as in that one which treats of armour in general, while the engravings in the present chapter repre- sent in their order of date all the diiferent sorts of cuirasses in use up to the time of their being superseded (from about 1620 — 1660) by buff coats or jerkins (German, Koller ; French, huffletin), an article of costume made generally of deer-slan, and furnished with a metal gorget. Coats of Arms of the Middle Ages. 313 1. Specimen of the ringed coat {Beringf), composed of flat rings sewed side by side on quilted linen or leather. This kind of coat is very difiBcult, if not impossible, to distinguish from the macled coat, in the illuminations of different manuscripts. (See plate No. 4.) 500 ^- ^- -^ .. i 2. Specimen of rustred coat {Bekettet). Here the flat rings are oval, and overlap each other half wp.y. This sort of coat, in which the rings do not really interlace, is represented in illuminations as actual chain armour. S. Specimen of macled coat (Bs- schiidef). This is composed of small lozenge-shaped plates of metal, sewed on a foundation of cloth or leather, and some- times overlapping each other half way. 314 Coats of Arms of the Middle Ages. Specimen of trellised coat ( Oegit- tert and also Benagelf). Thia coat is made both of quilted linen and skin, strengthened with straps of thick leather, placed trellis-wise ; each square is armed with a riveted nail- head. It is difficult, in the illuminations on manuscripts, to distinguish the trellised from the ringed coat. Specimen of sealed or imhricated coat (^Gesclmppf). It is also called jazeran and Tiorazin. The armour consists of scales of metal sewed by rows, so as to overlap each other, on quilted linen or on leather. Specimen of coat of mail in riveted rings, called grains d'orge {Genietetes Ketten or Maschengewebe). Being entirely formed of metal rings, the coat of mail has neither wrong side nor lining. Coats of Arms of the Middle Ages. Small hauberk or jacket * of the 7 eighth centuiy (Kleinea Panzer- liemd) in overlapping scales of metal, a kind of armour which is known under the name of jazeraii or korazin, a name pro- bably derived from Khorassan, a country in the Persian Em- pire. Codes Aureus of Saint ' Gall, eighth century. 315 8. Great hauberk (Brunne or Ganzes Fanzerliemd), ringed. From the Martyrologium, a manu- script of the tenth century, in the library at Stuttgard. It has the camail and close-fitting short sleeves. 9. Great Norman trellised hauberk of the eleventh centiuy. It has a movable camail and short sleeves. Bayeux Tapestry. * Some coins of Magdeburg, dating about 1150 — 1160, as well as some older coins of Germany, have representations of coats engraved on them, on which we can easily re- cognize the imbricated or cuiTed scales of far larger dimensions which formed the material of the hauberks of the knights painted on the walls of the Cathedral of Brunswick in the eleventh century. I'he earliest instance of an imbri- cated hauberk is one in the Codex Aureus of Saint Gall, about the eighth or ninth century, represented above. 316 Goats of Arms of the Middle Ages. III 11. German hauberk of the eleventh century, with fixed hood, cnisses, and leggings, from the Jeretnias Apocalypsis, pre- served in the library at Darm- stadt. 12. Gamboison, or gambeson (^Oeolirter leinener Unter- panzer). A sort of coat or jacket of the sixteenth century, made of linen quilted and embroidered. The gamboiaon was generally worn under the cuirass. Cluny Museum, and Benn^ Collection at Constance. ]3. Gamboison of the fourteenth century, vrith fllxed cuisses and legging. It is of quilted linen, fitted with mail at the breast, waist and knees. The only known specimen, fi'om which this di'awing has been taken, is in the Museum of Munich. 14. Venetian mail cape, called bishop's mantle (Bischofi Mantel), with which the Doges were armed ; it was also worn in Germany during the fif- teenth and sixteenth centuries. Eenne Collection at Constance, but supposed to have come from the Dresden Museum. Coats of Arms of the Middle Ages. 317 15. Gorget wiih sleeves in chain mail, of the fifteenth centuiy. Dresden Museum. 16. Brigantine jacket (ItaUanisclie Panzerjache) of the fifteenth century. The trilobed scales. No. 17, are stamped with the fleur-de-lys, and riveted, over- lapping each other on the velvet doublet of which they form a metal lining. Museum of Darmstadt. 17. Trilobed scale of armour be- longing to the above described brigantine, nearly the actual size. 18. Scales of a brigantine, stamped with hons (probably the ar- mourer's mart), in the au- thor's collection. Many museums and collections have exhibited this piece of defen- sive armour on the wrong side. The error arises from presuming that the stuif, whether velvet or linen, should be worn next the body. The curve of the scales, however, shows on which side the brig- antine was worn. This mis- take is found in the Museums of Dresden, Cluny, the Ambras Collection, etc. 318 Coats of Arms of the Middle Ages. 19. Breastplate of brigantine, fif- teenth century, composed of small plates of steel. It is exhibited in the Cluny Mu- seum on the reverse side, as it is here drawn. 20. Brigantine of the fifteenth cen- tury, composed of small steel plates, exhibited on the reverse side at the Muse'e d'Artillerie, Paris. No. 127. Similar specimens may be seen in the Museums of Sigmaringen and Munich, 21. Brigantine of the fifteenth cen- tury, composed of trefoil- shaped imbricated scales. This specimen is remarkable on account of its waist-piece, which protects the thighs be- low the hips. Dresden Mu- seum. The Ambras Collection also possesses a similar brigan- tine, and both museums have exhibited it on the reverse side. Coats of Arms of the Middle Ages. 3? 319 22. Jacket in imbricated plates of steel, with collar and arm- guards in chaia mail, fifteenth century. The scales of this armour are not riveted on to any material, like the brigan- tine, but riveted to one another, with lining of stuff or skin, so that it resembles a coat of mail. Erbaoh OoUeoMon. 23. Scales of the preceding jacket, I '^-' '-^ ' Nj— '-> drawn half their actual size, I — y — ^ y -^ — & — IU-, Coat of mail of Jean Ziska (died 1424), from an old picture, probably painted &om a draw- ing of that time, and preserved in the library at Geneva. The coat and breastplate are in iron, but the mail of the gorget and the surrounding rims are of copper. 320 Different Goats of Arms. 25. Coat in steel plates, &om a Persian manuscript of about 1600. This copy of the Schah Nameh, or Boyal Book, a poem composed by Ferdusi in the reign of Mahommed the Gaznevide (999), is orna- mented with 215 beautiful illuminations, and is exhibited in the library at Mimich. 26. Persian hauberk in chain mail, with sleeves, cuisses, and leg- gings, from the same manu- script. 27. Polished steel plate or scale, rather smaller than the actual size, from the jazeran or im- bricated jacket of Sobieski (1648 to 1696), exhibited in the Dresden Museum. Many of these scales are ornamented with crosses in gilded copper, which are riveted on. See in the chapter on helmets the pot-helm belonging to this same suit. 28. Mongolian coat of steel plate armour. Early part of the eighteenth century. The links are without rivets. G. 138, Museum of Artillery, Paris. Different Coais of A rms. 321 29. Polygar coat of mail. Meyrick Collection. This armovir is remai'kable on account of tlie points round the collar de- scending on to the shoulders. 30 30. Indian coat. Meyrick Collection. The straight coUar appears to indicate a comparatively modern origin. 31. Indian coat in rhinoceros hide.* This armour, which is orna- mented with inlaid plates, has a very modem, and far &om graceful character about it. The Musee d'Aitillerie at Paris possesses a few similar Eastern coats. Meyrick Collection. * According to the Meyrick Catalogue, this kind of armour is manufactured at Mundavien, in the GuH of Cutoh, in Western India. The coats, like the round bucklers, are made with rhinoceros and buflalo hides, boiled in oil. '.sgpcsi |0"pDBi3|i! lODaSpf. 322 Coats of Arms and Cuirasses. 32. Saracenic coat of mail; sixteenth century; back view. It is doubled at the back mth a plain and pointed hood, whicli serves both as a protection to the shoulders and also as a " camail," or hood. This coat, exhibited in the Mus^e d'Ar- tillerie, Paris, is short, reaching only a little below the hips. 33. Gothic cuirass with salient ridge (Graete) and lance rest; fif- teenth century. Ambras Col- lection. This is the most ele- gant form of cuirass. 34. Gothic cuirass, fifteenth century, without lance rest, with scaled back plate and waist-piece. Arsenal of Zurich. 85. Cuirass with salient ridge, fif- teenth century, in iron, and very heavy, covered with red velvet, and studded with iron- headed nails. National Museum of Bavaria, at Mwnidlu 323 36. Gothic cuirass without salient ridge, very rounded, and believed to belong to a German suit, end of the fifteenth century. Arsenals of lyraYimiHaTi I., from drawings by Glockenthon in 1505. Ambras Collection. 37. Semi-rounded cuirass without topid, or saUeni lidge, of a Grerman suit, in embossed iron ; end of the fifteenth century. Meyrich CoUecHotu 88. Semi-rounded cuirass without fopuZ, but with lance rest, of a German fluted suit; end of the fifteenth century. It is called " Maximilienne " and Milanese ; the shape is very beautiful, the waist-piece large, and does not end with the tassets, as is tisnally the case, the tassets in this instance being joined to the rest of the suit. Arsenai of Vienna. 39. Semi-rounded cuirass without tapvl, part of a German suit ; end of the fifteenth and beginning of the six- teenth century. 6. 6, Mus^e d'ArtiUerie, Paris, and also in the Collection of the Count of Nieuwerkerlce. 39 324 -•isxac.. Cuirasses. 40. Semi-roimded cuirass with taptil and waist-piece ; first half of the sixteenth century ; part of a Ger- man suit of armour belonging to the Landgrave Philip the Mag- nanimous (died 1567). 41. Semi-rounded cuirass with tofpul and lanee rest ; first half of the sixteenth century ; part of a suit belonging to a knight of the ord» of St. George. Meyrick Collection. 42. Cuirass with lance rest, but without tapvl; pait of a German suit; middle of the sixteenth century. Coimt of Nieuwerkerke's Collec- tion. In the arsenal of the city, Vienna, there are many similar suits, which formerly belonged to the civic troops of this town, and all bear the date 1546. 43. Cuirass withiopoZ; part of a Nu- remberg suit, of the year 1570. Imperial Arsenal of ViemtM. Cuirasses. 325 '^t a. Italian engraved cnirass with iapul ; end of the sixteenth century. Arribras CoUeotion.* 45. Onirass in plates, and with Uqml, peascod-shaped, or like a Punch's hump (Gdnseiauch) ; end of tlie reign of Henry lU. (1589). 46. Peascod-shaped cuirass with tapul, and long lobster - shell cuissL-s instead of tassets. Eeign of Louis Xm. (1610-1643). 47. Italian cuirass with buttons and peascod-shaped tapul. Count of Nieiiwerkerhe's Collection, and M. Sbter's Collection at Augsburg. * The cuirass of the suit of armour in the Louvre, attributed to Henry IV. of Prance, is of a similar shape ; the waist-piece is composed of three large metal plates. Cuirasses and Buff Coats. 48. Half armour in engraved iron, ornamented with gilt nails; latter lialf of the seventeenth century; preserved at the Arsenal of Soleure, where it is wrongly attributed to Vengli (1550). 49. Cuirass in plates belonging to a German Beiter ; middle of the seventeenth century. Some German authors have called these suits of plate or scaled armour Krehse, or crabs. 50. Buif coat (Kollerr, German ; huffletin, French), of deer- skin ; time of the Thirty Years' War, and reign of Louis XIII. of France (1618 — 1640). G. 162, Muse'e d'ArtiUerie, Paris. The Imperial Arsenal of Vienna possesses the buff coat which Gustavus Adolphus wore when killed at the battle of Lutzen. 51. OoUar in russet steel belonging to the buff coat No. 50. 52. Cuirassier's buff sleeves, of 1650. coat with Cuirasses. 327 .'.3. Persian leather cuirass, probably of the sixteenth or seventeenth century. This piece of armour, which is inlaid and quilted, resembles very much the cuirasses of the janissaries, mentioned below. MeyricTc CoUection. 54. Janissary's* cuirass; sixteenth century. G. ISi, Muse'e d'ArtUlerie, Palis. This piece of armour is stamped with a mark, which is drawn near plate 53. Tliis is the mono- gram or device by which the Turks represent the name of Allah (God). See the obser- vation concerning this mai'k in the chapter on shields. 55. Janissary's cuu'ass; seventeenth century. G. 133, Muse'e d'Artillerie, Paris. Same ob- servations as the preceding number. * The janissaries (a name derived from the two Turkish words, ieni Icheri, signifying new soldiers) com- posed the infantry of the Ttrrkish militia. They were organised in 1362 by Amnrath I , and almost all mass.-.cred in 1826. llUUllum; 328 THE ABM-GUABD. The arm-guard, properly so called (German, Armschiene ; French, hrassard), did not form any essential part of ancient armour; but it has been ascertained to have been in some instances used by the ancient nations as well as by bar- barians during the brazen age ; it was then in the form of a screw, as already shown above. During that part of the Middle Ages when plate armour was not yet invented, the coat of mail often had sleeves which formed a protection for the arm. These terminated in the chain mail mitten, or gauntlet without fingers, and were superseded at first by boiled leather plates, and later by steel ones. There were both single and double arm-guards, and also the arm-guard complete, which protected the upper and lower portion of the arm, and was joined together by the elbow-piece. The large tilting arm-guards of the fifteenth and sixteenth centuries were used only for the left arm, and had often a fixed gauntlet without joints ; they were generally worn instead of the manteau d'armes. The shape, and size of the elbow and shoulder pieces are always a help towards recognising the date of a complete arm-guard, which was generally hinged, and protected the arm entirely. Arm-guards. 329 Arm-guard with mitten (^Arm- schutz mit Maschen-Fausthand- schuli) of a coat of mail. "2. Complete Gothic arm-guard with elbow, upper arm-piece, and gauntlet, jfrom a monument of 1460 in Oxfordshire. The elbow-pieces are very large. Gothic arm-guard with elbow and upper arm-piece, to protect the upper and lower part of the arm; middle of the fifteenth century. 4. Id., id. ,5. Complete arm-guard, protecting, like the preceding ones, the upper and lower part of the arm. It is ornamented with bands of embossed work, which, as well as the shape of the elbow-piece, indicate the end of the fifteenth century or the beginning of the sixteenth, for these kinds of armour were ■contemporaneous with the fluted suits called Maximilian and Milanese armour. 330 Arm-guards. Arm-guard, with elbow and upper arm-piece ; part of a fluted, or Maximilian, suit of armour ; end of the fifteenth, or begin- ning of the sixteenth century. 7. Ann-guard, with elbow and upper arm-piece ; end of the sixteenth century. 8. Lower-arm guard : the inner arm-plate is pierced with eight square holes. Spenfjel Collection at Munich, 9. German tilting arm-guard, with mitten, for the left hand ; end oJ the fifteenth century. 10. German tilting arm-guard, with mitten, for the left hand ; be- ginning of the sixteenth cen- tury. All these guards protect the upper and lower arm. 331 THE GATOTTIiKT. The shape of the gauntlet or armed glovo (Kampfhandgchuk or Gefingerte Handtatze in. German), which covered not only the hand, but part of the arm, is, as well as the soleret or shoe, a great help towards the classification of a suit of armour, for hoth one and the other have undergone great changes. It appears to be tolerably certain that the use of the gauntlet proper does not date farther back than the end of the thirteenth century. The Martyrologium, the Pruden- tius Psychomachia, the Biblia Sacra, the Aelfric, the Jere- mias Apocalypsis, the embroidery on the mitre of Seligenthal,. and the Bayeux tapestry, authorities which have already been cited, and which date from the ninth to the end of the eleventh century, always represent the warrior with bare hands, but the seal of Eichard Coeur de Lion (1157-1173) shows the hand of the king already protected by a sort of continuation of the chain mail sleeve, forming a bag or mitten, in which the thumb alone has a separate place. A warrior in the illustrations of the German .^Ineid of Henry of Waldeck, thirteenth century, with a crested heaume, and riding a horse covered with ringed or trellised armour, has the hand covered with a mail mitten, or with a continuation of the sleeve of the coat, which seems to be trellised if not already plated. The first real gauntlet had separate fingers, and was covered with scales, plates, or some other overlapping plates of iron; the back of the hand was protected by a plate of metal or leather, such as is represented on the tombstone of the King of the Eomans, Giinther of Schwarzburg, carved in 1352, in the Cathedral of Frankfort, where this prince was poisoned in 1349. We recognise this kind of gauntlet in an Italian painting of the fourteenth century, in the pos- session of M. Odet at Sitten. The illuminations in a manu- script of Eoman history preserved in the Library of the Arsenal at Paris, probably executed at the beginning of the fifteenth century for the Duke of Burgundy, still represent all the men-at-aims with their hands protected only by the mitten, made by a continuation of the mail sleeve, which' 332 The Gauntlet. shows how far the Burgundian equipment was behind that of other nations. The mitten (Fausthandsclmh'), a kind of gauntlet in which the fingers were not separated, and with plates of steel placed so as to move with the principal movements of the hand, makes its appearance in the fifteenth century. The armour of Joan of Arc, in the catalogue of Dezest, the bronze statuette of William VI. (1404-1417) at Amsterdam, and the armour of Frederick I., Palatine of the Ehine, preserved in the Ambras Collection at Vienna, show that the mitten was everywhere used during the first half of the fifteenth century, but it is to the articulated gauntlet that Bayard's favourite proverb applies, " Co que gantelet gagne, gorgerin le mange," also the terms of " throwing the gauntlet " and " raising the gauntlet," which in the fifteenth centui'y occur in the French language. There are, however, some German suits of armour where the gauntlets have already separate spaces for the iingers, like those in the Museum of Sigmaringen, and a largo number of suits of the second half of the fifteenth and be- ginning of the sixteenth century, more especially tilting suits, are provided with mittens. See the harness of Maximilian I. (1459-1519) in the Ambras Collection and in the Imperial Arsenal of Vienna. The articulated gauntlet came into general use towards the end of the fifteenth, and not in the middle of the sixteenth century, at the time when the pistol made its appearance, as compilers insist ; nevertheless almost all the fluted suits of armour have the inarticulated gauntlet. The gauntlet with separate fingers — in which the fore-finger has fifteen, the ring finger sixteen, and the middle finger has twenty-two small plates or scales, while the reverse or outside of the glove is composed only of three or four plates — was in use contemporaneously with the mitten, but after a little while this latter fell into disuse and disappeared. Several of these gauntlets were provided with a screw ring on a pivot, by which means the closed hand might be fixed on to the sword or handle of the hammer, like the curious specimen which the Imperial Arsenal of Vienna possesses, and which forms .part of a suit of armour attributed to Charles V. Several of these iron gauntlets are studded with nail-heads Tlie GamdU. 333 placed on the outside of the glove, and in inverted positions, but the reason of these excrescences is not known to us.* The tilting gauntlet arm-guaid, for the left arm, was a piece of defensive armour which belonged to the latter half of the fifteenth century. About a hundred years later were worn the " gauntlet tilting shield," the " sword gauntlet," and the " gauntlet for bear-hunting." The last articulated gauntlet was soon afterwards replaced by the glove with deerskin gauntlet, such as was worn during the Thirty Years' War. In England, however, during part of the seventeenth century, gloves armed with scales were worn ; a specimen of which is to be found in the Meyrick Collection. * They served probably to inoreaee the power of a blow from the fist, being analogous to the cestus of classic, or " knuckle-duster " of modem times. — Tkai^slatoe. 334 Gauntlets. 1. Gauntlet witli Beparately articu- lated fingers (Gefingerter Kampfhandschuhf or GejiTir gerte IMze), fiom the monu- ment of the Koman king, Giin- ther of Schwarzburg, erected in 1352, in the Cathedral of Frankfort-on-tlie-Main. 2. Mitten (FaustliandsAuk), fif- teenth century ; the thumb alone is separate. yv . 376 Swords of the Middle Ages. 16. English sword, thirteenth cen- tury ; the handle is only 2| inclies long. This weapon, liie the preceding one, has been wrongly attributed to the Anglo-Saxon period. No. f^, Tower of London. 17. Sword in its sheath, probably of the thirteenth centm-y, but if not, of a still earlier date. This weapon, preserved at Jerusalem, is said to have belonged to Godfrey of Bouil- lon (eleventh century). 18. Sword of the thirteenth century, 39 inches long. The blade is ridged, and not grooved in the centre. The slight inclination of the qu,iUon» towards the point of the sword denotes the time of its manu- facture. J. 2, Muse'e d'ArtiUerie, Paris. 19. Sword, end of the thirteenth or beginning of the fourteenth century! It is 41 inches in length. The inscription which the flattened pommel of the sword bears, MAEIA, in Gothic capitals, leads us to conclude that it must be prior to 1350, and not of the fifteenth century, a" the catalogue of the Muse'e d'Artil- lerie affirms, where it is ex- hibited under No. J. 10. This handsome sword was found in the Bois de Satory. 20. German sword in iron, with copper pommel, 38 inches long, end of the fourteenth century. Found near Bruimen, in the lake of Lucerne. Collection of M. Smhholzer, curator of the Arsenal of Berlin. Swords of the Middle Ages. 377 21. German sword of the fourteenth century, 33 inches long, and with a thumb ring. If the ornaments and the armorial bearings did not point out its origin, it miglit be reasonably supposed that this weapon was of Eastern manufacture. National Museum of Mwiidi, 22 and 25. EngTavings on the blade of the preceding object 23. Arab sword, fourteenth centniy ; the handle silver - gi.'t and richly engrayed. The quiUom are double and curved towards the point. This weapon bears the date 1323 engraved in Arabic numerals, and re- sembles in shape the Moorish swords. Speugel Collection, Munich, but now in the Nieu- werkerke Collection. 24. Executioner's sword of the fif- teenth century, 27 inches in length ; the hilt and handle re- semble the lansquend swords of the sixteenth century. The blade has a gallows engraved on it, and the date 1407. H i N|M m. f m i m 1 ^ 378 Swords of the Middle Ages. 2o. Sword of the fifteentli century, andace, with broad, short, double - edged blade,* 26 inches long ; witliout a groove, but with a ridge in the centre. The quillons are very much curved towards the point of the blade. J. 13, Musee d'ArtiUerie. 27. Italian sword, anelace, fifteenth century ; blade broad, short, and double-edged, 26 inches in length. 28. Italian sword, anelace, fifteenth century; the blade about 4 inches broad by 26 inches long, double-edged, and fluted ivory handle. The guard bears the word "SoUa." Ambras Collection. Similar specimens may be seen in the collections of the Count of Nieuwerkerke, of M. Soter, at Augsburg, and in the Museum of Munich. 29. Sword, like the preceding one, 25 inches long, but broader in the blade, some- times called "langue de boeuf."t Arsenal of Prince LobTiowitz at Baudnitz. 30. Sword, like the preceding one, about 22 incljes long. J. 476, Musee dArtilhrie de Paris. * These kinds of swords, called "pistos"and "anelaces," represent the weapon known in France under the names of " braquemart, malchus, coustil h. croc " and " e'pe'e de passot." f This is the parazonium or small sword of the ancient Greeks and Bomans, which they carried on the left side. Swords of the Middle SI. Bohemian sword, fifteenth cen- tury, called Diisack or Tesack, 39 inches long, composed entirely of iron. The wearer had his sword hand protected by an iron or deer - skin gauntlet, which reached to tlie elbow. 32. Iron sword in one piece, fif- teenth century. This weapon, 38 or 39 inches long, and used in Germany, resembles the Bohemian Diisack. Dresden Museum. 33. Scimitar, 32 or 38 inches long, from a painting on a table of the fifteenth century, at Augsburg. Indmtrial Museum, Vienna. 34. Claymore * or Scottish sword of the fifteenth century, 3 feet long. Warioick Castle. 35. German sword, fifteenth century, 3 feet 2 inches long. Museum of Mwnich. * The name claymore has been incorrectly applied to those six- teenth-century swords which have iron basket-work hilts. These are iu/reality Venetian swords, and were originally called scMavona. {Vide No. 69.) The long-bladed swords with similar handles belong to the end of the seventeenth and begin- ning of the eighteenth centuries. They were used among all nations as cavalry swords. 379 380 Swords of the Middle Ages. 36. German sword, fifteenth century 38 inches long; the pommel in crystal. Musema of Munich. 87. German sword, fifteenth century, 4 feet in length ; the pommel and handle are of copper. Museiim of Munich. 38. Cutlass sabre, fifteenth century, extremely large, about 3 feet 10 ruches in length; from an engraving. Cabinet of Engravings, Mimiclt. 39. German sword, fifteenth century, 3 feet 10 inches long, belong- ing to a knight of St. George. Imperial Arsenal of Vienna, 40. Sword, Swiss, end of the fif- teenth century, with broad blade and quiUon hilt, pas cCdne," and counter guard. The whole length is 3 feet. Author's Collection, * This is the most ancient sword with a ^os d'&ne which the author ha8 ever met with. Some frescoes of the end of the fourteenth or be- ginning of the fifteenth century, on the walls of the church of Mon- doneda, represent warriors armed with swords with pas d'ane hilts. Swords of the Sixteenth Centwy. 381 4-0 -A- 4-1 40 A. Sword, end of the fifteenth or beginning of the sixteenth century, restored according to a description in the manu- scripts, " The Arsenals of the Emperor Maximilian," three volumes of polychrome water- colour drawings, executed in 1505, on an order of the Em- peror, by Nicholas Glocken- thon, and containing all the remarkable arms which were then preserved in the three Imperial Arsenals. AmlTos GoVection. 41. Same period and same source, 42. Ditto, ditto. 43. Ditto, ditto. 44. Ditto, ditto. 45. Ditto, ditto. 382 Swords of the Sixteenth Century. 46. Same period and eaiiie sourca 47. Ditto, ditto. 48. Sword, mth handle and guard in gilded copper. A calendar for the year 1506 is very elaborately engraved on the blade, thus rendering it a curious piece of workmanship. Arsenal of Berlin. Swords of the Sixteenth Centwry. 383 BO. Sword, German, sixteenth cen- tury, witli quillmis, pas d'dne, and counter-guard with five branches. 3 feet 10 inches long. J. 52, Mue^e d'ArtiUerie, Paris. 51. Sword, Swiss, all of iron; the blade is 2 feet 7 inches long, and the handle about 9 inches long. It belonged to the reformer Zwinglius, who died in the battle of Cappel (1531). Arsenal of Zurich. 52. Sword, German, beginning of the BLxteenth centui'y, 3 feet 8 inches long. The blade is ornamented with a crucifix in high relief, which renders it unsuited for being sheathed. Museum of Sigmaringen. 53. Sword, Dutch, with long and broad blade. It belonged to Wilham the SOent, who was murdered in 1584. Arserial of Berlirt. 384 Swords of the Sixteenth Century. 54. Sword, German, belonging to a lansqueTiet. of the sixteenth century. Plain pattern, with counter - guard. The total length is 2 feet 11 inches ; the blade measuring 29 inches in length and 2 in breadth. Muaewm of Sigmaringen. 55. Sword, Spanish, with Moorish orniimeuts, sixteenth century, belonging to the collection of the Marquis of Villaseca, and attributed by him to Boabdil, the last Moorish king of Granada, who was dethroned in 1492. This sword is very like one preserved in the Armeria Real, at Madrid, and attributed to Don John of Austria, who died in 1578. Two similar swords are to be seen, one in the Cabinet de MedaiUes, at Paris, and one in the possession of Don Fernando Nuilez. The sword in the Cabinet de Me'dailles, No. 876, bears the inscription, "II n'y a de vainqueur que Dieu." 56. Sword, German, sixteenth cen- tury, manufactured at Augs- burg. It is 4 feet 3 inches in length, and the pommel and guiUons are engraved. Museum of Sigmaringen. 57. Sword, German, belonging to a lansquenet, sixteenth century, 2J feet long. The double guard, hilt, and pommel are of iron, with copper mount- mgs. Museum of Garlxrulhe. Swords of the Sixteenth Century. 385 58. Sword, out and thrust, French, 3 feet 9 inches long, -with a slender blade, in the style of the Spanish rapier blades. The quitlons are curved: it has a pas d'dne and an open- work pommel, and bears on the guard the initial letter H. This sword either belonged to Henri 11. of France him- self or to one of his courtieTs. The ornaments on the pom- mel consist of H's interlaced, and the ornament on the scutcheon is formed by an H interlaced with a heart. Author's Collection. 59. Sword, German, sixteenth cen- tury. The blade has a double edge, narrow, and with a ridge ; the handle is of black iron. The quillons are cm-ved towards the point. Gnard and pas d'dne. J. 27, Mus^e d'Artillerie, Paris. 60. Sword, cut and thrust, German, beginning of the sixteenth century. The blade has three ridges. Two guards and a counter-guard. The guillom are straight. The handle of shagreen. Fas d'dne. J. 47, Miis€e d' AHilhrie, Paris. 61. Sword, beginning of the six- teenth century, with Spanish blade, bearing the mark of the armourer, Alonzo de Sahagon of Toledo. J. 50, Mus^e d'Artillerie, Paris. 62. Tilting sword, sixteenth cen- tury, from a picture of that period in the collection of the Count of Bngenberg. 63. Sword, German, sixteenth cen- tury. It is 3 feet 6 inches ia length; tJie pas d'dne 2 386 Swords of the Sixteenth Century. hilt* is richly inlaid with silver allegoric figures representing the Danube, Ehine, etc. The blade bears the inscription, PETER. MUNSTEE . ME . FECIT . SOLINGEN. Museum of Sigmaringm. • We may again remark it was by this name that the small guard on the blade was called. It was not until the latter half of the sixteenth century that the pas d'dne was generally adopted, but it may be seen a) page 380, both in the text (No. 40) and in the foot-note, that the pag d'dne dates back even to the fifteenth century. See also the ex- planation of the word pas d'dne in the introduction to this chapter, and «lso at No. 63. Swords of Sixteenth and Seventeenth Centuries. 387 64. Sword, Gernian, sixteenth cen- tury, from the descriptions of the " Noces princiferes," by Wirtzig. Industrial Mmeum of Vienna. Sword or Spanish rapier, end of the sixteenth century. Basket hilt and straight quiUone. J. 85, Mus^e d'ArtiUerie, Paris. 66. Sword, German, inlaid with gold and enamelled, beginning of the seventeenth oentm-y ; with quiUom and pas d'dne. Museum of Sigmaringen. 67. Sword, or rapier. J, 102, MJuseum of Paris. Outline of a sword, German, beginning of the seventeenth century, with pas d'dne and a German inscription, " leh halte Jems und Maria." It is preserved in the Armaria of Madrid, where it is attributed to St. Ferdinand (1200—1232). There is thus a difference of 400 years between the date of the manufacture and the date assigned to the sword. 388 Swords of Seventeenth and Eighteenth Centuries. 69. Sword, Venetian, 2 feet 9 inches long, beginning of the seven- teenth century, called " schia- Tcna." * This sword and the Bcy tiled sword were the offen- sive weapons of the Sohiavoni or Doge's guards. In almost all collections it is described as a claymore, which is the Scottish sword with a plain cross hUt. Museum of Sig- maringen and FaUly Collec- tion. In this last-named col- lection there is a scMavona stamped with the winged Uou of Venice. 70. Same as above. J. 119, Mus& d'Artillerie de Paris, where it is erroneously described as a claymore. 71. Cavalry sword, end of the seventeenth century. J. 96, Musee d'Artillerie, Farie. 72. Scottish cavalry sword, eigh- teenth century, erroneously called claymore. J. 118, Mtis^e d'Artillerie, Pari^. * The pictures of Pietro deHa Vecchia often represent people armed with this kind of sword. Swords of Seventeenth and MgMeentJi 389 73. Savoyard sword, beginning of the seventeentli century. It belonged to Captain Branaa- lieu-Chaffardin, who was killed under the walls of Geneva in 1602. Arsenal of Geneva. 74. German sword, beginning of the seventeenth century. It is grooved and measures 7 feet 2 inches in length. With quiUons and pas d'dne. Museum of Munich. 75. Sword of the latter years of the seventeenth or beginning of the eighteenth century. It is 5 feet 4 inches in length. J. 135, Musee d'Artillerie, Paris, and the Imperial Arsenal of Vienna. 76. Cutlass or mariner's sword, seventeenth century; quUlone and counter-guard. Museum of Erbach. 77. Sword of the seventeenth cen- tury, with guard covering the back of the hand, and quillons, the ends of which are curved in opposite directions. '&> U 77 n 890 Swords of Seventeenth and Eighteenth Centuries. 7S. Court sword of the time of Louia XV. (1715—1774), in polished iron or steel cut in facets. MerviUe Collection. Court sword of the time of Louis XV. (1715—1774), in steel, with gilt ornament, and with a pas d'dne of a peculiar shape. Merville Collection, 80. Court sword of the time of Louia XVI. (1778—1793), in steel. Merville Collection. A large quantity of these kinds of swords have been made whose shapes vary but little. Some of them have in the eyes of the amateur a great artistic value, especially when the date of their manufacture is shown by the stamp. Eastern Sabres. 391 78*. Indian sword called "Eunda de Rajah," * sixteenth century, 3 feet 3 inches long, and en- tirely made of iron. The blade is damascened, the handle, guard, and hilt are beautifully ornamented ■with embossed and engraved work. Author's Collection. 79*. Indian sword called " Johur de Mnjdh," beginning of the seventeenth century. Mueewm of Tsarshoe-Selo. 80*. Nepanl sword, called " Konkri Kara." 3. 453, Musee d'ArtiUerie, Paris. 81. Hindoo-Mussulman sword in Khorassan damascened work. The diSerence between the Indian and purely Turkish taste may be seen in the handle of this sword. The damascening of the blade is of a yellowish tint, which Is the most esteemed. J. 407, Mvsie d'Artillerie, Paris. * At the Museum of Tsarskoe- Selo, and at the Musee d'Artillerie, Paris, there are similar swords. 392 Eastern Sahres. 82. Persian sword from a manuaoripl of 1600, an illustrated copy of the " Sdhah Nameh," a poem by Ferdusi, composed In the reign of Mahmoud, a.d. 999. Library of Munich. 83. Albanian or Arnaut* sword, recognisable by the peculiar shape of the handle, which in other specimens is often omar mented with small chains. The handle and sheath of this weapon is inlaid with bright embossed silver, and the da- mascened blade is almost straight in shape. Musee d'ArtiUerie, Paris. 84 Turkish sabre with black damas cened blade, of ancient mamn- fecture of Constantinople. J. 390, Mus^e d'Artillerie Paris. 85. Turkish sabre, seventeenth cen- tury. Dresden Museum, * The Turks caU tlie Alljiiniana Ariiauts. Scimitars. 393 85 B. SeimitaT, from a German manoscript, beginnmg of the fifteenth century. 86. Turkish scimitar, which differs greatly from the scimitars of the West in the shape of its guards, the ends of which curre towards the point of the sabre. Tliis guard is in the shape of a heart, like almost all Eastern sabres. 87. Chinese scimitar, a weajwu easily known, like almost all Chinese sabres, by the absence of quiHons, counter-guard, pas d'dne, and basket hilt, by the handle being corded, and by the pommel, which resembles the Chinese head-dress. 87 A. Large cutlass or mariner's sword. Blade 1 foot 4 inches long. Museum of Sigmaringen. 87 B. Matador's sword with which the toreador on foot fights and kills the bull. The handle of this weapon is 'oound with a piece of red woollen biaid. . G. Aroea Collection at Par.'*. St. B C '^ 394 Scimitars and Yataglmns. . Japanese yataghan with damas- cened blade, and rhinoceros horn handle, studded with dice-shaped ornaments. J. 439, Mus^e d'Artillerie, Parie. , Japanese sabre with curved point ; the handle is of carved wood, mounted with silver. J. 414, Musge d'Artillerie, Paris. 90. Japanese sabre called bookatena." 'Sio- 91. Chinese sabre. Tower of London. 92. Modern Chinese sabre ; the handle is of white wood. It was part of the spoil taken from Pekin, and is exhibited in the Musee d'Artillerie, Paris. 93. Chinese sabre-knife, given to condemned ciiminals to kill themselves with. Museum of Berlin, Yataghans, etc. S95 94. Turkish yataghan with blade damasi:!ened in gold. Taken from the Turks before Vienna in 1683. 95. Albanian yataghan. The handle, like the sheath, is plated with bright silver, embossed and engraved. The blade is damascened. Mue^e d'Ariillene, Paris. 96. Kabyle flissa, with handle ornamented in copper. It will be noticed that the flissa and yataghan resemble one another. 97. Turlrishkandgiar. Horn handle, studded with copper ; damas- cened blade. J. 427, Musee d'ArtiUerie, Paris. It may be noticed that yataghans, flissas, and kandgiars are very like each other, which renders their classification difficult. The yataghan, as well as the flissa and kandgiar, are gene- rally single-edged and with- out guards ; they are m:i9 Like sabres than swords. African Suords. 98. Arab sword, exhibited mider No. G. 413, Muse'e d'Aitillerie, Paris, where it is described aa an Indian weapon. Tlie quil- lons are curved towards the blade, which is indented. 99. Sword from Morocco with rhinoceros horn handle. The guard is composed of three quillons, all curved towards the blade ; there is also a counter-guard. 100. Zanguebar sword (Eastern Africa), 1 foot 10 inches long. The blade is single-edged, but has three grooves. The sheath and handle are in embossed or engraved copper, ornamented with precious stones. Chritty Collection, London. 101. Large Zanguebar sword with crimped leather sheath. The haft, tapering towards the end and twisted, forma a handle, which is without either guard or quillons. As the sword is very long, it is difficult to understand Low this singular weapon could be wielded. Mus^e d'Artillerie, Paris. African Yataghans. 397 102. Zanguebar sword.* Musee d'AHiUerie, Paris. 103. Scythed yataghan of Tonariif manufactnTe. Mus^e cHArtillerie, Paris. 104. Hatchet yataghan of Tonarik maunfacture. Musie d'ArtHlerie, Paris, * The coast of Zanguebar is a large district of Eastern Africa, which borders on the Indian Ocean ; it comprises many states, among which may be named those of Mago- doxo, Melinda, Zanzibar, and Qoiloa, The inhabitants speak the Caf&e tongue, and many of them are Arabs. t The Tonarik tribes inhabit part of the Sahara. 398 Two-handed Swords. 105. Two-handed Grerman sword {Zweihdnder in German), fifteenth century. J. 148, Museum of Paris. The British Museum possesses a similar weapon, 5 feet 8 inches in length. It was the state sword of Edward V. (1475—1483). The sheath and handle are enriched with polyehiome enamels. 106. Swiss or German two-handed sword of the sixteenth cen- tury, with wavy blade and hooks. J. 151, Mus^e d'Ar- tillerie, Paris. A similar sword is in the Az Collection at Lintz, and bears the date 1590, and the German in- scription : " Weich nit von mir, treuer Gott!" " Forsake me not, oh true God !" 107. Swiss two-handed sword, be- ginning of the seventeenth century. Two handed Swords. 399 108. Two-handed sword, end of the sixteenth or beginning of the seventeenth century, as the curvature of the quillons towards the handle and the ring for the thumb seem to indicate. J. 169, Muaee d'ArtiUerie, Paris. 109. Swiss two-handed sword, with curved and saw-edged blade, fifteenth century, about 4 feet in length, the handle being 18 inches in length ; the quiUons are curved towards the blade. Arsenal of Berne. 110. Two-handed German sword (_Zweihandiges Siebmesser), end of the fifteenth century. This singular weapon, which is cutlass -shaped, is not straight ; the blade and handle incline in opposite directions. Arsenal of Vienna. 111. Two-lianded German sword with cushions QFaustkapperi), sixteenth century. Dresden Musevm. 400 THE DAGGEB, PONIAED, STILETTO, KOTJTTAE, OKBASE, ETC. This kind of weapon, the diminutive of the sword — the war-knife, in fact — has been in use among all people and during all epochs. The shades of difference between the poniard (from the Latin pungere, to prick, or pugnus, a fist, and called in German Dolch) and the dagger* (from the Celtic dag, point; in German, Grosser Dolch or Dolckmesser) are often so slight that the two weapons are continually con- founded one with the other. The poniard, properly so called, is smaller and shorter in the blade than the dagger, which was identical with the ancient broad and short sword of the early nations. It has been seen that the poniard was in use during the ages of flint, whether chipped or polished, a time at which the Danish weapons were the most finished and most artistic. During the bronze period the poniard equally maintained its sway, it was the parazonium of the ancients, and was worn on the left side, while amongst the Greeks and Eomans the sword always hung from the right side ; among the Assyrians and Egyptians, on the contrary, it hving on the left. The dagger of the Germans was the scramasax (see under this name), a species of single-edged cutlass with a very long haft. The guards of the poniard and dagger, as well as those of the sword, are a great help towards fixing the date of their manufacture, and it has been remarked that during the thirteenth century the ends of the quillons were slightly curved towards the point of the blade. The misericorde was a poniard which received its name from being used to give the last or finishing stroke (coup de grace) to an adversary ; its triangular blade rendered it serviceable for thrusting through the points of the armour, on which account it was called in German PanzerhrecTier (cuirass- breaker). The French misericorde of the fourteenth and fifteenth centuries was nevertheless larger than the German Panzerbrecher, and it was also used in England for planting in the ground and tethering the horse to during the reign of James I. (1603). * In venery or huntiag terms, " dague " is the name given to the first horn which grows on the head of the young stag in his second year ; hence the name "dagnet" given in France to the young stag before he is thi'ee years old. The Bagger. 401 The dagger' with thumb-ring {Bolch mit Baumring), the ase of which dates from 1410, is the long Spanish poniard, the guard of which, placed above the quUlons, has a large ring fastened to it in which the thumb was placed. Towards the end of the fifteenth century it was worn on the right side, and also on the loins. During the sixteenth century it had a double thumb-ring, and was placed on the end of the pike to resist cayalry. The anelace, so called because it was worn fastened to a ring (^annulus), is distinguished by the size of the blade, the shape of which, broad above and pointed below, resembles an ox- tongue. Hence its French name "langue de boeuf." The small knife often seen on the sheath of this weapon, and which was generally made at Verona, is called " bastardeau." The lansquenet dagger, end of the fifteenth and beginning of the sixteenth century, was somewhat long, and worn below the girdle, as the pictures of that time show. The Swiss lansquenet dagger was shorter, and more like a poniard with a steel sheath. The Frankish archers, the foot archers, and almost all the foot-soldiers of the Middle Ages, were armed with daggers. The main gauche, end of the fifteenth and beginning of the sixteenth century, believed to be of Spanish origin, and from thence brought into Italy and France, was more properly a duelling weapon. It was held in the left hand to ward off blows, while the right was armed with the long rapier. The Italian main gauche preserved in the Musee d'Artillerie at Paris, No. J. 485, and engraved further on (see No. 28), represents one of these weapons called " pennated," with three blades expanding by means of a spring when a button was pressed in the handle, and forming a guard of great length and breadth, in which the adversary's sword might be caught and snapped. This dagger, however, is neither of Spanish nor of Italian origin, as compilers have always repeated ; it was already known in Germany during the fifteenth century, when it was used in the secret sittings of the Free Judges, at the taking of the oath vowed in the name of the Holy Trinity, which was represented by the three divisions of the weapon, with which all the Schoeffen were provided. The stiletto (Spitzdoleh) wa,s a small poi JtJwhich eamii 2 D 402 The Dagger. into use during the Middle Ages, and which is well known even at this day. The " creese," sometimes written hrees, which the Diction- naire de rAcad^mie Frangaise erroneously spells " crid," is a Javanese dagger, generally with a wavy or " flaming " blade, which the Malay teibes render still more fatal by dipping into poison. The " khouttar," a Hindoo weapon, has a large blade like the Italian an dace, fixed on to a square handle, into which the hand is slipped, and thus protected as far as the wrist by this kind of guard or gauntlet. There are hhmttars in which the blade is divided into two points, but they are not common, and are called serpent-tongued. The " wag-nuk " is not a poniard, properly so called, but a weapon meant for striking with as a tiger strikes with his claws. It was invented in 1659 by Sevaja, the chief of a secret society, and was used by bandits in assassinations. The wounds inflicted by this weapon resembled those made by a tiger, and thus diverted suspicion from the real authors of the crime. The Italian daggers are celebrated for their fine workman- ship in wrought iron, being often incrusted and damascened with silver ; the blades are frequently of pierced work. Ancient Italian and German daggers and poniards have been known to fetch at the public sales in Paris the high price of a thousand francs. In more modern times the names of knife-swords and bayonet-poniards were given to the knives, swords, and bayonets in the shape of poniards, that is, with a pointed blade sharpened on both sides. 404 Daggers and Poniards. Baggers an^ Poniards. 405 1. British cutlass, tenth century. It bears on the blade the namea " Edwardus ," and " prins agile." It is attributed to Edward U. Maehd Manuscript 2. Iron dagger, about a foot long, thirteenth century. Museum of the Canton, Lausanne 3. Iron dagger, thirteenth century, the blade of which measures about 12, and the haft about 5 inches, Mv,semn of the Canton, Lausamte. 4. Iron poniard, probably Scottish, fourteenth century. Collection of Prince Charles of Prussia (see No. 13, next page). 5. Same as above. 6. Poniard, beginning of the fourteenth _oentury. 7. Iron dagger, about 14 inches in length, beginning of the fourteenth century. The haft is very long. Museum of the Canton, Lausanne. 8. Iron dagger, about 19J inches long, end of the fourteenth century. Tower of London, 9. Iron dagger, 14j inches in length, end of the fourteenth century. It was found in the lake of Morat, and the handle is of carved bone. Arsenal of Geneva. Poniards of this shape were manu- factured until the sixteenth century, for the ' Feldbuch,' published at that time by Egge at Prankfort-ou-the-Main, and preserved in the cabinet of engravings at Munich, contains simila,r illus- trations. 10. Iron dagger, end of the fojirteenth, or beginning of the fifteenth century. Collection of the Count of Nieuwerkerke. Similar ■weapons (found in the Thames) may be seen in the British Museum, and in the Museum of Sigmaringen, found in Hohen- zoUern. A manuscript of the fifteenth century, illuminated by Zeitblom for the Prince of Waldburg, also shows this same fciud of poniard. 11. Poniard, end of the fourteenth century. 406 Baggers and Poniards. Baggers and Poniards. 407 12. Dagger, fifteenth century, of a shape belonging also to the fourteenth century. Arsenal of Vienna, 13. Scottish dagger, about 14i inches long, the handle is of wood ; fifteenth century. See the observations on the claymores, and the dagger. No. i. Caimt of Nieiiwerkerk^s Collection. 14. Dagger with single thumb ring, about 16 inches long, fifteenth century. Author'i Collection. 15. Dagger with double thimib ring, sixteenth century. The two rings were placed there to fix the dagger on a shaft, or at the end of a lance, to resist cavalry. 16. Dagger, anelace, or Verona dagger, fifteenth century. Mum d'ArtiUerie, Paris. 17. Dagger, anelace, fifteenth century. 18. Dagger, fifteenth century. Musee cPArtitterie, Paris. 19. Dagger of a German lansquenet, sixteenth century, about 14 inches long. Sheath in polished steel. Mm^e d'Artillerie, Paris, 20. Dagger of German lansquenet, sixteenth century. SSter CoUecticm, Maximilian Museum, Augdmrg. 408 J7 Daggers and Poniards _. ^ <.^==^ Baggers and Poniards. 409 21. Poniard, German, sixteenth contury. 22. Stiletto {Spitzdolch), about 12 inches long, end of the sixteenth century. In Germany these weapons were also called Panzer- breclier, or cuirass-breaker. 23. Dagger, Swiss, sixteenth century, from the Soltikoff Collection. Similar weapons, belonging to M. Buohholzer of Lucerne, and the Count of Nieuwerkerke at Paris, have in embossed work on the sheaths, instead of the usual hunting subjects, representations of the Dance of Death. These daggers are often provided with small knives, which served to cut the thongs of the armour, to pierce holes, and for various purposes during the campaign. 24. Dagger, German, sixteenth century. Ancient Soltikoff Collection. 25. Poniard, German, with wavy blade, very short and broad. 'Arsenal of the City of Vienna, 26. Poniard, German, sixteenth century. The guard has four quillons. Collection of Charles XV., King of Sweden. 27. Main gauche, sixteenth century. Mus^e d'ArtiUerie, Paris. 28. Main gauche, German, sixteenth century. Musee d'Artillerie, Paris, and also in the museums of Prague and Sigmaiingen. See the arms of the Free Judges. 410 Daggers and Poniards. %l VWAAA ( is llli rj A r\ Pi n n "■ n Daggers and Poniards. 411 29. 3fam gauche, German, about 20 inches long, sixteenth oentniy. The handle is richly engraved. Museum of Sigmaringen. 80. Main gauche, Spanish, with the insoriptiou " Viva Felipe V.," which shows that this weapon was in use in the year 1701. Meyrick Collection. 31. Main gaache, Grerman, with indented blade for breaking swords, sixteenth century. Count of Nieuwerkerke'e Collection. 32. Main gauche, German, with indented blade for breaking the enemy's sword; thnmb ring, and qniUons curved in inverse directions; sixteenth century. Muieum of Dresden Collection. 33. Indented blade of No. 31. 34. Large German hrise-ip^e, sixteenth oeutuiy. Meytiek CoUeetion, 33. Indented blade of the preceding objeot. 412 Daggers and Poniards. 36. Large main gauche, German, •with indented quillons, and grated guard as sword-breaker, seventeenth century. It mea- sures about 25 by 10 inches. National Museum of Munich, 37. Stiletto, German, called Pan- zerbreeher, or cuirass-breaker, about 12 inches long, sixteenth century. Museum of Sigmaringen. 38. Poniard, Geiman, called Pan- zerbrecher. The numbers on the blade serving probably for measuring the bore of cannons. Museum of Sigmaringen, 39. Pouiai'd, about 10 inches long, richly studded with precious stones. This weapon belonged to SobiesM. Museum of Sigmaringen. 40. Poniard, Persian. J. 533, Musg'e d'ArtiUerie, Paris, Daggers and Poniards. 413 41. Wag-nuk, or tiger's claw, two and a halt feet in length ; this was an Indian weapon belonging to a secret society, and was invented about 1659 by Sewaja, a Hindoo. It was used for purposes of murder, and as it counterfeited the wounds of a tiger's claw, di- verted suspicion fiom the offender. Meyrick Collection. 42. Persian poniard, with damas- cened blade and ivory handle. 43. Hindoo khouttar with blade, called " langue de boeuf." Mus^e d'ArtilUrie, Paris. 44. Hindoo khouttar with forked blade. RTuseum of Tsarskoe-Selo. 45. Turkish kandjar dagger. 46. Javanese krees. 47. Javanese dagger, but of Indian or Persian workmanship, 17 inches long. The blade is grooved, and the handle of a . massive piece of ivory, orna- mented with nail-heads in damascened iron. The sheath of shagreen is partly covered by plaques of niello-work. Author's Collection. 414 THE LASOE, PIKE, AND SPEAB. The lance (from the barbarous Latin lancea, in German Speer, and also Spiess) was in use at a very remote period of antiquity, and was common among the Assyrians as well as among the Egyptians. Prom the eighth to the thirteenth century after Christ the lance remained much the same in shape, a simple cylindrical shaft of smooth wood, about twelve feet long, with the lance-head fixed by a socket on to the staff.* The tilting lance, which did not appear until the thirteenth century, and was soon utilised in warfare, had a handle ; it was thicker at that place, and gradually tapered towards the head and base. In France the use of the lance was forbidden during the reign of Henry IV. in 1605. The lances of the tenth and eleventh centuries are conspicuous by the pennons fastened below the socket of the lance-head. The lances of the mercenaries known under the name of lansquenets had generally small blades, whose sockets were strengthened by long stems branching down the shaft, to which they were fixed by means of screws ; these lances were sometimes twenty-four or even twenty-seven feet in length. The lances of the Swiss foot-soldiers were not often more than sixteen feet long, for the Swiss method consisted in forming their soldiers into four close rows. The spear was a weapon used in hunting the wild boar. * In the Bayeux tapestry, and in miniatuies of the same period, pennons are attached to the lances. Lances. 415 1. German lance, from the Codex aureus of Saint Gall, of tUe eighth or ninth century. -===rr3jTQii!}i;:lP23=s=^ 2 2. German lajice, beginning of the ninth eentnry, and afterwards cd ^ i'TTTlIi lidb called Knebelspiees, copied from the WessobruQ manuscript in the Munich Library. «\ 3. Norman * lance, eleventh century, from the Bayeux tapestries. ^=^-iJJ^= 4. The same, with pennon. 5. The same. * The lance, as also the sword, were among the Normans the wea- pons of free men, for in the laws of William the Conqueror on the sub- ject of freeing a serf, it is said, Tradidit illi arma libera, sciUoet lanceam et gladium. 416 Lances. ■■^^^^^ ^q.A W.3 •=^C_^:^;«((^ ?7.4 Jf-$ 6. Anglo-Saxon lance from a minia tare in the Ael/ric manuscript, of the eleventh century, in the British Museum. 7. Large spear-head, damascened with gold, of the fifteenth cen- tury, fifteen inches in length, the Ijlade measuring ten and a half, and the haft, four and a half inches. Benne' Collection at Constance. 8. Large spear-head, fifteenth cen- tury, with a long shaft. Arsenal of Zurich. 9. Lanceofalansquenet(Xang-8pie«8 in German), end of the fif- teenth century. The sliaft is about twenty-four feet long, and is one inch and a half in diameter. The Museum of Salz- burg, possessing several similar lances, presented some of th em to the Emperor Napoleon III., who gave them to the Musee d'Ar- tillorie at Paris. Monsieur Az at Lintz has also a few lances of this kind in his collection. 10 A and 10 B. Lances of Austrian foot-soldiers, end of the fifteenth century. Weapons lite these are to be seen in the drawings made by Nicholas Glockentbon in 1505, from the Arsenals of the Emperor Maximilian. Anfibras Collection. 11 A. Lance of Swiss foot-soldiers, of the fifteenth and sixteenth centuries. Arsenals of Soleure and Lucerne. 11 B. The same. 12. Slender lance, called Assagai, from the Arsenal of Ehode.s, and belonging formerly to the knights of St. John of Jeru- salem (1522). F. 43, Mue^e d'Artillerie Paris. Laimes. 417 13 A. Long slender lance, begin- ning of the sixteenth century. The lance-head is nearly a foot and a half in length. From drawings already mentioned, executed in 1505 by Glocken- thon, and which are to be found in the Ambras Collection. 13 B. The same. 11. War lance of the fifteenth cen- tury, from a piece of tapestry, said to have been found in the tent of Charles the Bold. 15. TUting lance, with vamplate, sixteenth century. Meyrick Collection. 16. War lance of the sixteenth cen- tury, profusely ornamented with red eagles on a white ground, the arms of the city of Innspruck. Meyrick Collection. 17. Tilting and war lance, from the above - mentioned iUnstrated manuscript of Glockenthon, 1505. 18. The same. All these lances have an indented place in the shaft for the hand to obtain a firm grip. This fashion does not date farther back than the end of the thirteenth century, at which time the tournaments were frequent, and well regulated. 418 Lances. 19. German lanoe, called Knehel- spiess, from Glookentliou'a manuscript, 1505, in tlie Am- bras Collection. 20. German hunting javeUn, six- teenth century. Dresden Museum. 21. Point of a German war and tilting lanoe, of the sixteenth century ; it is 7 inches in length. Dresden Musewm. 22. The same. 8 inches in length. Arsenal of Berlin. 23. The same. SJ inches in length. Arsenal of Berlin. Lance for tilting at the ring. A lance on this model "will be found in the " Traite d'Equita- tion," by PlurLnel, of the reign of Louis XIII. (1610—1643). K. 262, Mus(fe d'ArtiUerie, Paris. German hunting spear, six- teenth century {San, or Bdren- fanger, and also Schweins- feder in German). It was used more especially for boar- huntiog. , Hunting spear of the sixteenth century, with three wheel-lock pistols, and two " hallebarde " hooks: this weapon was part of the Soltikoflf Collection. Lances. 419 27. Lance of the seventeenth cen- tury. 28. Double-headed Persian lances, &om a very late sixteenth- century manuscript copy of Ferdusi's Sclidh-Nameh of the year 999. W. Arrow-shaped javelin for throw- ing (Wurfpfeil in German), used for boar-hunting. Arsenal of Berlin. 30. Abyssinian lance, conspicuous on account of its broad, iron, shovel-shaped base. The broad point recalls exactly the bronze and iron heads of the "fcamees," belonging to the bronze and iron ages. One lance of this Mnd has a ring fastened to it, and is known imder the name of " celt." Mus^e d'ArtiUerie, Farie. 31. The same. 32. Chinese lance. 420 THB MAOB, The mace (from the Latin massa, Streitholben in German) is a "weapon heavy at one end, not made either for piercing or cutting, but only for stunning an enemy ; it was much used by the cavalry, and there are several representations of it in the Bayeux tapestries, end of the eleventh century. >» mnrajng.gfaj; I Military Flails. 42& 1. German holy - -water sprinkler {Flegel in German) of the eleventh century, with chain and ball without spikes, from tlie statue of one of the founders of Naumburg Cathedral. 2. Iron hammer of flail, -without points, on a long shaft, probably of the fourteenth century. K. 83, Musde d'ArtiUerie, Paris. 3. Flail with chain and spiked ball on long shaft, probably of the fourteenth century. K. 81, Muse'e d'ArtiUerie, Paris. Scorpion, or flail, with four chains without balls (called Scorpion in German), a Hussite weapon of the fifteenth century. National Museum of Prague. 5. English flaU -with chain and spiked ball on long shaft ; reign of Henry VH. (1485—1509). Meyrick Collection. 6. Swiss flail with iron hammer on long shaft. Arsenal of Geneva 7. Short -handled flail, 2 feet 7 inches in length. National Museum Munich. 42(3 Military Flails. 8. German flail of the fifteenth century on a very long shaft. It has an iron hammer with twelve spikes. 9. Swiss flail of the fifteenth cen- tury with a squared iron hammer without spikes, on a long shaft. 10. Ancient Eussian knout,* with a short handle. Dresden Museum. 11. Japanese flail. The handle is only 26 inches in length, and the ball at the end of the chain is studded with very sharp spikes. * The knout actually employed in Russia for punishments differs but slightly from the ancient instru- ment, painful as it is to us to believe in the existence of such a thing in the present state of civilisation. 427 THE BILL, OB WAR-SCTTHB. The icar-scythe (from tlie Latin falx, Kriegssense in German) is notMng but the agricultural scythe slightly straightened ; the blade is in a line with the haft ;* it is single-edged, the .point slightly curved towards the shay edge, while the scythe- knife, also single-edged, has the point curving from the edge to the back ; the blade of the gisarme, or glaive-gisarme, is, ^s the name glaive indicates, double-edged, like the cut and thrust sword. .1. Unstraiglitened war-scythe, be- ginning of the ninth century. From the manuscript o£ Wesso- brunn, year 810, in the library of Munich. ■2. Bohemian crescent-shaped war- scythe, thirteenth century. From the manusc ript of Voles- lav in Prince Lobkowitz's library, at Eaudnitz. .3. War-scythe, fourteenth century. K. 145, Mmee d'ArUllerie, Paris. -i. Swiss war-scythes of the four- teenth and fifteenth centuries. Arsenals of Zurich and, Soleure. War-scythes of colossal di- mensions (4 feet to 4 feet 6 inches in the length of the blade) were used by the Tschaikists of Austria to mow down the crews of their enemies' boats. The Austrian troops so- called derived their name from the river Tschaike. Imperial Arsenal of Vienna. » In Austria, during the Jacquerie or peasants' war, all smithg detected in turning agricultural implements into weapons were punished •with death. 428 THE SCXTHE-KNirB, OR GLAIVE. Tte scythe-knife, and another very like it, often con- founded with the gisarme, but in reality a breach Icnife, is,, like the war-scythe, single-edged, being in fact a modified form of the war-scythe, but, as has been before stated, the blade of the glaive curves from the edge, and the blade of the scythe towards it. The point is double-edged, and at the base of the blade there is a hook or spur. The glaive was greatly used in France during the fourteenth century, which is proved by the especial mention of it in the poem of the " Trente." 1. Burgimdian glaive, fifteenth ceri>- tury. From a manuscript in the library of the Arsenal at Paris. 2. Swiss glaive : at the base are hallebarde blades. Museum of Sigmaringeiu 3. German glaive, sixteenth century, with wheel-lock pistol. It is richly inlaid. National Museum of Munickt tVar Scythes. 4. Glaive called Cracoiuse, seven- teenth century. Klemm Collection^ Dresden, 5. German glaive,* ornamented with the armorial bearings of King Ferdinand, the Order of the Golden Fleece, and the letter F. Meyrick Collection. 6. German glaive, very large size, sixteenth century. It bears the date 1580, and the Bavarian arms. K. 156, Mustfe d'ArtiUerie, Paris. 7. Scythe trident, or "Eanseui-," for charging {Sturmsense in German), of the seventeenth century. A German weapon of enormous dimensions, being 5 feet by 4. Imperial Arsenal of Venice. * This kind of weapon is also called breach-knife {Brechmesser in German). It was especially common in Austria and in other parts of Germany, and was used as late as the eighteenth century, hut in reahty it was nothing but a scythe-knife. 430 THE GISABMB. The gisarme, or glaive-gisarme [Gleefe, and also Boss- schinder * in German), which almost all British authors con- found with the halberd, is simply a glaive fixed on a shaft. The gisarme is quite different from the war-scythe and breach-knife, as it is double-edged and armed with hooks. The origin of the glaive-gisarme dates from the age of bronze among the Keltic and Germanic nations, at which time many tribes were in the habit of fastening glaives or .soramasax swords to long shafts. The Welsh called them llawmavn; a name derived from cleddyr or gleddyr. In some parts of Germany the name of Gleefe has given place to the more modern one of Sensen mil Spitzen. The French name of guisarme is apparently derived from the guisards or followers of the house of Guise, who were armed with them. Olivier de la Marche, a chronicler, born in 1426, maintains that the name of gisarme is of great antiquity, and believes this weapon to originate in the habit of fastening a dagger to the Made of a battle-axe. * Boss-scMnder : this name waa given to tlie foot-soldiers who were in the habit of using this weapon to hamstring the knights' horses. 1. English gisarme {Oleefe and Boss-schinder in German), of which mention is made in the twelfth-century manuscripts of Westminster. The Chinese use this weapon at the present day, as may be seen from the specimens in the Musee d'Ar- tUlerie, at Paris. 2. Swiss gisarme, thirteenth cen- tury. Troyon Collection in the Museum of Oie Canton, at Lausanne. 3. Swiss gisarme "bill," fifteenth century. Arsenal of Sdleme. 4. Swiss gisarme "bill," end of the fifteenth century. Museum of Sigmaringen. 5. English gisarme "bill," end of the fifteenth century. 6. Swiss gisarme, end of the fifteenth century. Arsenal of Zurich and Wittmann Collection at Geisenheim. 432 Gisarmes. 7. Italian gisarme " glaiye," riclily engraved, end of the fifteentli century. Meyrick Collection. 8. Gisarme on long shaft, bound with iron. The blade is about 2J feet in length, «,nd bears the inscription X. IVANI. X. Az Collection, Lintz. 9. Swiss gisarme " bill," inlaid, sixteenth centm-y. Museum of Sigmaringen. 10. Italian gisarme " glaive," be- longing to the Doge's guards : they were armed with this weapon, and with the basket- hilted sword, called Schiarona. which in almost all coUectiout has been erroneously cata- logued as a claymore, but the Scottish sword has a simple guard without either a pas d'dne or basket hilt. 433 THE VOULGB. Though very rarely met with now, this weapon was one of the most ancient among the Swiss, and also much sought after in France during the fifteenth century, at which time there existed a regiment of infantry called voulgiers, who were armed with this broad-bladed and long-hafted weapon. A large number of archers also carried them. Some few authors wrongly give the name of voulge to the boar-spear, the shape of which bears not the least resemblance to the voulge of ancient warfare. Sv,'iss voulge, about 16 inches in length, found on the battle- field of Morgarten (1319). Arsenal of Lucerne. 2. Swiss Toulge with hook, four- teenth century. 3. Swiss voulge, fourteenth century. Arsenal of Zurich. A representation of this voulge may be seen in a fif- teenth-century manuscript of the Hauslaub Collection. 434 Voulgea. i. Swiss voulge, end of the fonr- teenth century. Meyer Biermann Collection at Lucerne. 5. German voulge, end of the fif- teenth century. Az Collection, lAntz. 6. Saxon voulge, taken at the battle of Miihlberg (1547). Imperial Arsenal of Venice. Austrian voulge, about 2 feet in length. It is of the time of the Jacquerie or peasants' war. (1620-1 625), when it was forged out of a ploughshare. Az Collection, liiittz. 435 THE POLE- OE WAE-HAMMER. Fixed on a long shaft, the pole-hammer has been known in Germany and Switzerland under the name of Luzerner Rammer, as it was a favourite arm of the people of Lucerne. It is called pole-hammer in English from the fact of having the spiked hammer placed at the end of a long shaft or pole. The foot-soldiers' war-hammer is of great antiquity, as we may see in the hammers of the so-called stone and bronze ages ; and Charles Martel (715 — 741) owes his name to this formidable weapon, which became general during the four- teenth century. The French poem of the Combats des Trente mentions the war-hammer and its weight : " Oil combattait d'un mail qui pesoit bien le quart De cent livres d'aoier, si Dieu en moi part." This war-hammer, of twenty-five pounds' weight, belonged to Tommelin Belefort. They were also used in the passages of arms, as Olivier de la Marche, born in 1426, remarks in his " Memoirs," where he also makes mention of the passage of arms of the " sire Hautbourdin et de Delalain." The short-handled horseman's hammer {BeiterJiammer in German) which the knights carried, like the mace, at their saddle-bow, is almost as ancient as the pole-hammer. Some antique bas-reliefs at the Louvre represent Amazons at- tackmg their enemies with short-handled double-edged pole- axes (?), one of which is, in armourer's phraseology, falcon or parrot-beak shaped, a term used however when the hammer was long-handled. 436 War Hammers for Foot-soldiers. 1. steel war-hammer on long shafts fourteentli century (iMzemer Hammer in German). li. 84, Musee d'AHUlerie, Paris, 2. Steel war-hammer on long shaft, fifteenth century. 3. Swiss steel war-hammer on long shaft, fifteenth century. This weapon, of which there are a great number id the Arsenal of Lucerne, is a fair type of the Luzerner Hammer, or hammer of Lucerne. Meyer Biermann Collection and Museum of Sigmaringen. i. Steel war-hammer on long shaft, end of the fifteenth, or begin- ning of the sixteenth century. The sword which forms the apex of the whole is more than 3 feet in length. K. 88, Musee d'ArtUlerie, Paris 5. Swiss steel war-hammer on long shaft, from a drawing of Hans Holbein > 1-145-] 554), represent- ing the combat of Theibaut d'Arx. Industrial Museum of Vienna. 6. Hammer-pike. This long-shafted weapon was carried by the subalterns in charge of the flag under the First Empire (1804- 1814). K. 275, Mus^e d'Artillerie, Paris. Horsemen's War Hammers. 437 7. Horseman's war-hammer {Beiter- hammer in German), 2 feet ill length ; ironhandlestuddedwith copper ornaments of Gothic character, denoting the end of the fifteenth century. 8. War-hammer, 3 feet 4 inches in length, belonging to a Hussite chief of the fifteenth century, serving at once the purposes of a weapon and a rod of office. The handle, about 16 inches in length, is covered with red velvet. A dart 2J feet long springs Irom the hammer on pressing a button near the socket. Museum of Sigmaringen. 9. Horseman's parrot-beaked war- hammer, end of the fifteenth century. Meyrick Collection. 10. Horseman's parrot-beaked war- hammer in chiselled iron, or- namented with fleurs-de-lys ; 22J inches in length, sixteenth century. Arsenal of Berne. 11. Horseman's parrot-heaked war- hammer, sixteenth century. K. 69, Musee d'ArtiUerie, Paris. 12. Scaling war-hammer, taken from the Savoyards under the com- mand of Branaulieu Chaffai- din in 1602, under the walls of Geneva, in an nnsuccessfnl night attack. Arsetud of Geneva. 13. Horseman's war hammer with very long spike of iron and copper. The shaft is wood, the handle ivory; sixteenth century. Dresden Museum. 43S THE BATTLE-AXE. The battle-axe (from the German Sachen, and not from the Latin ascia) was generally called Streitaxt in German, but when the handle was greatly lengthened and used by ibot-soldiers it became a pole-axe, and was called Fuss- Slreitaxt. This cuneiform weapon, like the common hatchet, from which it is modified, is one of the most ancient and best known during the so-called ages of stone and bronze, and was the favourite weapon of all Germanic nations. The Frank hatchet, the well-known francisque, was short- handled, while that of the Saxons was fixed on so long a shaft that among the Anglo-Saxons it was named pole-axe. At the battle of Hastings (1066), where Harold was defeated by William the Conqueror, the Saxons at first repelled with success the repeated attacks of their Norman foes, whom they overthrew in large numbers with their long battle-axes, etc., a weapon which among them was generally about five feet in length. In the Bayeux tapestries are many representations of battle-axes without either point or hook, in this resembling the domestic hatchet and the francisque. The foot-soldier's battle-axe of the fourteenth century differs considerably from the weapon of an earlier date. Though on one side an axe, it becomes on the other a war- hammer, either with a saw edge or a sharp point, but generally large and curved, called falcon-heaked ; whilst the term parrot-heakecl was applied when the weapon was short in the handle and belonged to a horseman. The battle-axe sometimes was provided with a long dart or sword fixed at the top. The short-handled horseman's axe (Beiterajxt and Bartke in German) is found to have sometimes a gun-barrel encased in the handle, either the primitive hand-cannon or the wheel- lock pistol. The short-handled battle-axe as well as the war-hammer appears to have been known to the ancients. It is some- times seen in engravings of Assyrian war-chariots and ia sculpture which represents Amazons. Foot-soldiers' Pole-axes. 439 1 and 2. Poot-soldier's long-shafted pole-axes {i uss-Streitaxt in German), end of the eleventh century. Bayeux Tapestry, 3. German foot-soldier's pole-axe, end of the fourteenth century. K. 93, Musee d'ArtiUerie, Fans. 4. German foot-soldier's pole-axe, fifteenth century. From a ■wood engraving. Cabinet of Engravings, Munich. 5. German foot-soldier's pole-axe, fifteenth century. Museum of Munich, Collection of Charles XV. of Sweden, and Mey- rick Collection. 6. Swiss foot-soldier's pole-axe, fif- teenth century. Arsenal of iMceme. 440 Foot-soldiers^ Pole-axes. 7 A. German foot- soldier's pole-axe, fifteenth century. Cabinet of Engravings, Munich. 7 B. The aame. 8. Kussian foot- soldier's pole-axe, called Bardiche. K. 95, Mus^e d'ArtiUerie, Paris. 9 Russian* foot-soldier's pole-axe, with which the StreKfes or Stre- litzen were armed. Museum of Tsarskoe-Selo. 10. Venetian pole-axe with saw- edged hammer, sixteenth century. Meyrieh Collection. 11. Swiss pole-axe with saw-edged hammer, sixteenth century. Arse7ial of Berne. 12. Swiss pole-axe, with hammer and dart Arsenal of Berne. l:-i. Long-shafted Scottish Lochabcr axe, the national weapon of Scotland. Collection of Prince Charles at Berlin. li. German pole-axe, iifteenth cen- tury, f Historical Museum of Monhijou at * The modern battle-axes of the inhabitants of the Caucasus are of this same shape : this may be seen from the weapon of Schaniyl, also in the Museum of Tsarskoe-Selo, and in German fifteenth-century engravings in the Cabinet of En- gravings at Munich. t Nos. 9 and 14 might be classed among the voulges. Horsemen's Battle-axes. 141 15 English foot-soldier's Jedburgli axe, sixteenth century. Meyrich Collection. 10. Scottish or English foot-soldier's pole-axe. K. 96, Mus^e d'ArtiUerie, Paris. 17. German horseman's short-hand- led battle-axe {Beiteraxt and Barthe in German), end of the fifteenth century. Dresden Museum. iJ8. Turkish horseman's battle-axe, end of the iifteenth century; it belonged to tlie Sultan Mahomed Ben Kaitbai, who reigned from 1495 to 1499. An inscription in open-work letters says, " The Sultan, tlie victorious king, the father of fortune, Mahomed Ben Kait- bai, may the servant of God be glorified in him." Tljere is also in Cufic characters the name of God five times re- peated. Ambras Collection. •19. Sclavonic horseman's battle-axe. From a diuwing by Albert Durer. 20. Horseman's iron battle-axe, be- ginning of the sixteenth cen- tury. 21. English horseman's battle-axe, beginning of Queen Eliza- beth's reign (1558). 442 Horsemen s Battle-axes . 22. Austrian battle-axe : the handle is about a yard in length, and bears the date 1623 and a wheel, a sign for gathering- themselves together adopted by the peasants in the Jacque- rie rebellion, to conquer which the aid of the Bavarian horse- men were called in. Az Collection, Lintz. 23. Short -handled Polish battle- axe, bound with strips of leather, beginning of the seventeenth century. Meyrich Collection.. 24. English executioner's axe, end of the sixteenth century, with which the Earl of Essex was beheaded in the reign of Eliza- beth (1558-1603). Tower of London. 25. Saxony miner's axe, for show, called Bergharthe, with the dale 1685; the handle is in- laid with ivory, and the blade pierced in open work. These arms are only intended for the festival day processions of miners' corporations, and not for actual use. 26. Horseman's battle - axe, with small hand cannon, fifteenth century. 27. Battle-axe with small band cannon, 31 inches in length : it belonged to the reformer Zwingli, who died in the battle of Cappel in 1531. Arsenal of Zurich. 28. German battle-axe with wheel lock pistol, inlaid with ivory and silver, end of the fifteenth century. Szolcau Museum {Hungary), and Museuffh of Sigmaringen. 29. Battle-axe with flint-lock pistol, end of the seventeenth cen- tury. SO and 31. Chinese battle-axes. Mvs(fe d'Artillerie, Paris', 44a THE HALBABD. The halbard may be deriyed from the German Salbe-Barihe,, half battle-axe ; or from Helm, casque, and BartTie, battle-axe ; or from Alte Barthe, old battle-axe : in Germany and Scandi- navia it dates from the earliest centuries of the present era, though it was not known in France until the Swiss intro- duced it in 1420. The president Fouchet, whose writings are about the end of the sixteenth century, attributes the introduction of the halbard to Louis XI. (1461 — 1483), " This prince," he writes, " ordered at Anglers and other good cities some new war-blades called halberds." This assertion is confirmed by miniatures of the fifteenth century in which the halbard is represented, though the shape varied' greatly according to the time and country. 1, 2, and 3. Three kinds of halbards, somewhat like the ranseurs, eleventh century. From the Psalterium, a manuscript in the Stuttgard Library. i. Swiss halbard, fourteenth century. 6, 7, and 8. Four German hal- bards of the fourteenth centui-y. National Museum of Munich. 444 Halbards. 9. Swiss halbard, beginning of the fifteenth centui-y. Author s Collection. 10. Swiss halbard, end of the fif- teentli century. Arsenal of Berne. 11. Swiss halbard with three- pronged hammer, end of the fifteenth century. Arsenal of Berne. 12. German halbard with three- pronged hammer, beginning of the sixteenth century. Imperial Arsenal of Vienna. 13. Swiss halbard, middle of the sixteenth century. Author's Collection. 14. German halbard, sixteenth cen- tury, engraved and gilt, a very handsome weapon. Museum of Sigmaringen. 15. German halbard, sixteenth cen- tury. 1 ? Soler Collection- in the Maximilian Museum at Augsburg. 16. Venetian halbard, end of the sixteen til century. Meyrich Collection. 445 EANSEimS. Tte ranseur is a kind of partizan, but coming originally from Corsica it has been called in France corgeque, and also by some authors roncone; the weapon was well known in Germany during the fifteenth century. The ancient Ceremonial Frangais says that it was a long and broad javelin with two barbs. 1 . Burgundian ranseur, or roncone, from miniatures in a fifteentli- century manuscript. Library of the Arsenal, Paris. 2. Ranseur, end of the fifteenth century". K. 98, Mus^e d'Artillerie, Paris. 3. German ranseur, beginning of the sixteenth century. Prom the Glockenthon manuscript. Amhras Collection. 4. German ranseur, sixteenth cen- tury. NiewwerherTte Collection. 5. Italian ranseur, sixteenth cen- tury. 6. Eanseur, seventeenth century. Arsenal of Perlin. 7. Four-sided ranseur. The point is above a yard in length. Arsenal of the city of Vienna. This same ranseur is found in drawings made in 1505 by Glockenthon, who made fac- similes of the arms in the arsenals of Maximilian I. 8. Eanseui-, beginning of the seven- teenth century. Museum of Sigmaringen, 446 THE PARTIZAN. The partizan is derived from the Spanish partesana, ot ffrom pertuis, opening, on account of the large wounds made by it, or perhaps simply from the French partisan; in German called Partisane, and also Bolimischer OJirloffel; and is a species of halbard. The iron is long, broad, and double-edged ; there is no axe, but barbs in the style of the ranseur. The partizan was known in Prance since the time of Louis XI. (1461) until the end of the seventeenth century, but its invention is not earlier than 1400. Pietro Monti, in his Exercitiorum atque Ariis MiUtaris Collectanea, Milan, 1509, who has particularly wished to describe this weapon, with which the guards of Francis I. and his succes- fiors were armed, has confoimded the partizan with ranseurs and halbards, an error which has been committed in our days in the catalogue of the celebrated Meyrick Collection at Goodrich Court, where even spontoons and langue-de-hceuf bayonets have been placed in the category of partizans. Partizans. 447 German partizan (Partisane or Bohmischer Ohrloffel in Ger- man), whose iron measures I4J inches. It dates probably from the early years of the fifteenth centm-y. National Museum of Munich. 2. Swiss partizan with armourer's mark, fifteenth century. Meyer Biermann Collection at Lucerne. 3. Swiss partizan with armourer's mark, fifteenth century. Meyer Biermann Collection at Zurich. 4. French engraved partizan, reign of Francis I., sixteenth century. K. 166, Musee d'Artillerie, Faris. German partizan, richly engraved, and bearing the date 1615 and the order of the Golden Fleece. It belonged to the guards of the Palatine of the Rhine. Meyrich Collection. 448 THE BAYONET. Nearly all authors of encyclopsedias and dictionaries, from the habit of copying one another, have repeated that the bayonet (Bajonnet in German) was invented and manufac- tured at Bayonne by Puysegur, who died in 1682. Never- theless this sort of dagger or sword has not been carried at the end of a fusil only, it had been already adapted to the arquebus, and even perhaps to the earliest portable iirearms. The bayonet was already known ia France about 1570, but was not universally adopted until about 1640, when it re- placed the pike in certain regiments. At the present day the bayonet is composed of the blade and socket with collar, which latter invention has been wrongly attributed in England to Mackay, in 1691, and in France to Vauban ; but it was at first a simple handle in wood, iron, or horn, intended to fix into the barrel. Subsequently the bayonet was fixed at the end of the gun by means of the socket, which was sloped so as to turn on the collar. This was the side-arm joined to the firearm, called musket-gun ov fusil-musket, and attributed to Vauban, which Oouhorn, his rival, introduced among the Dutch infantry about 1680. A wheel-lock musket, made towards the end of the six- teenth century, and preserved in the Culman Collection at Hanover, weakens, however, the supposition that Vauban was the inventor of the socketed bayonet, for this firearm pos- sesses a long bayonet with socket and collar, whose blade serves at the same time for a screw to draw the charge. There are Zang'tte-de-tosjt/ bayonets, Spanish knife bayonets, triangular bayonets, Bohemia^n soytlie-bayoneis, hayonei-sabres, etc., etc. Bayonets. 449 1. Genuiui bayonet with socketed collar, sixteenth century. Cvlmann Collection, Hanover. 2. Bayonet-poniard with handle and sword-breaker, end of the six- teenth century ; about 15 inches in length. Sliter Collection at Augsburg. 3. Wooden - handled triangular - bladed bayonet-poniaid ; total length 14 inches; seventeenth century. Soter Collection at Augsburg, and in Swiss Arsenals. English lengue-de-boeuf plug- bayonet {Fflug Bajonnet in Ger- man), end of the seventeenth century. Tower of London. A similar one in the same museum bears the inscription : " God save King James the 2d." 1686. Spanish wooden-handled knife- bayonet, seventeenth century. It bears the inscription : " No me saches sin rason Ne me embainez sin honor." (Unsheath me not without reason, nor sheath me without honour.) Mefyrick Collection. 2 G 450 Bayonets. G. French spring-handled bayonet, seventeenth centnvy. 7. Swiss handle - bayonet, seven- teenth century. 8. French socketed bayonet, used in 1717. 9. French grooved bayonet, used in 1768. 10. Bohemian socketed scythe - bayonet, beginning of the eighteenth century. Prince Ldbhyimtz's Collection ai BaudniU. 11. The same. 451 THE SPONTOOK, OR HALF PIKE. The pontoon (from tlte Italian spunione, pointed ; Sponton in German) was the half pike carried by infantry officers from the end of the seventeenth to the end of the eighteenth century. The imgraceful and grotesque shape of the weapon points out very accurately the time of its invention — the period of wigs and three-cornered hats. The last spontoons known in France were those carried by the French guards in 1789, models of which may be seen in the Mus^e d'ArtUlerie, at Paris. 1. Austrian ofBcer's spontoon, eud ' of the seventeenth century. 2. Officer's spontoon, from one of the small German principali- ties; end of the seventeenth century. 3. Prussian spontoon; reign of Frederic II. (1740—1786). i. Spontoon with wheel, seven- teenth century. Museum of Sigmaringtn. 452 THE MILITARY POKK. This weapon (Stiirmgabel in German) began to appear towards the end of the fifteenth century. The Arsenal of Geneva possesses several Italian scaling-ladder forks taken from the Savoyards in 1602. The military fork is also mentioned in the accounts of the siege of Mons, in 1691, where the grenadiers of the elder Dauphin's regiment, under the command of Vauban, assaulted a breastwork and carried away the Austrian forks. To recompense their bravery Louis XIV. gave the sergeants of that regiment the right of carrying a fork in place of the halbard. Military Forhs. 453 1. Military fork, fifteenth century. From the original collection in the Cabinet of Engravings, Munich. 2. Gterman military fork, beginning of the sixteenth century. Prom a water-colour drawing of Glockenthon's, made in 1505 &om the arsenals of Maxi- milian I. 3. Italian scaling-ladder fork taken &om the Savoyard troops under the walls of Geneva in 1602. Arsenal of Geneva. 4. Scaling-ladder fork &om the second siege of Vienna in 1683. 5. Double military fork, seven- teenth century. 6. Simple military fork, seven- teenth century. Arsenal of Genena. Three-pronged military fork, seventeenth century. Az Collection, Lirdz. 454 Arms and Utensils of War and the Chase. 1 . Articulated iron hand, sixteenth century ; attributed to Gotz of Berliohingen. Museum of Sig- maringen. In the National Museum of Munich there is a similar hand. 2. Long-shafted hook used by the besieged in a town to tear away burning arrows, from the Walturius of 1472 and a manu- script of the beginning of the fifteenth century in the Haus- laub Collection at Vienna. (See the chapter on war- engines.) 3. German catolipole (Fangeisen in German), fifteenth and six- teenth centuries ; it is 14 inches in length, and fixed on to a long shaft. This terrible wea- pon was intended to catch the knight by the throat and un- liorse him. Museum of Sigfnarwgen^ Toioer of Londcm, and Imperial Arsenal of Venice. 4. German double catchpole, six- teenth century. Dresden Museum. 5. Hunting spear with a spring- blade on either side, inlaid, sixteenth century. It is about 2 feet in height. Dresden Museum. 6. Hunting spear with spring and double knife, sixteenth cen- tury, bearing the name Bar- tolam Biella. Dresden Museum. 7. Battle-hook, sixteenth century, found among the ruins of the fortified castle of Erperath, near Neus and Diisseldorf, which «a3 destroyed by tlie Swedes. Museum of Sigmaringen. War Engines and Besieging Weapons. 455 8. Hunting sword with cross-piece near the point of the blade, sixteenth century. J. 171, Mus^e d!ArtiUerie, Paris. 9. Small Turkish drums covered with human sMn, taken hy General Eauchhaupt, who commanded, during the grand electoi^s reign, a Brandenburg brigade at the battle of St. Gotthard in Hungary. (1664). Arsenal of Berlin and Autlwr'i Collection. WAB ENGINES AUD BESIEGING WEAPONS. The war engines (^ArUwerc in German) which were em- ployed during the Middle Ages, and before the time of large- calibred firearms, have been copied from those of the ancients. (See Introduction, pp. 29, 30, 31, 54 and 55.) We recognise the lalista, intended to shoot large airows ; the catapaU or tormentum of the Latins, and the onagre in old French, which shot forth stones and pieces of rock; the battering ram, and a modification of it called in French irebuchet, and the ancient tolleno or see-saw with two baskets, which deposited the combatants within besieged places. In Germany were also used different sorts of engines with the names of Manges, Blindes, Tribocs, Patrarias, Tanten, Igel (hedgehog), Katzen (cat), and a variety of other names, to designate different kinds of maohines whose names and shapes were modified according to their respective provinces. The miniatures in the Codex Aureus of Saint-Gall, ninth century, represent inflammatory machines in the shape of fish carried on the points of lances. The Musee d'Artillerie at Paris possesses two bows of baHstas from the castle of Damascus, probably made in the time of the Crusaders, and the Cabinet of Antiquities at Zurich several iron rods of balista arrows, found with many broken bits of these machines in the ruins of the Castle of Eussikon, which was destroyed towards the end of the thirteenth century. The archives of Mons, in the year 1406, make mention of war engines, drawings of which are met with in all the manuscripts of that time, particularly in the fifteenth-century drawings of Zeitblom, in Prince Waldburg Wolfegg's library. 456 War Engines of the Middle Ages. The inventors of war engines were at ttat time particu- larly occupied in discovering new methods of setting fire to besieged places, and even went so far as to devise portable fire machines indented to be fastened to dogs, cats, and even birds. The cock himself, the beloved and living time- piece of the lansquenets, who never quitted them in their campaigns, was transformed into an incendiary torch by these terrible inventors. ^B^ Two hand torches. Codex Aureus of Saint-Gall, niath oentm-y. The engine which the horseman carries at his lance's point is shaped like a fish. As the manuscript represents it as vomiting fire before the besiegers have arrived at the place, the fiery torches are probably not made with gunpowder or other explosive material, but simply of resin. War Engines of the Middle Ages. 457 War engine to shoot large stones, balls, or pieces of rook (this was the catapult or tormentum of the ancients, the French onagre, and the German Bleydenn), from the drawings of Zeithlom, fifteenth century, in the library of Prince Waldbnrg Wolfegg. Authors of the fifteenth and sixteenth centuries have drawn a large number of these machines, but BO varied in their construction as to appear productions of fancy rather than copies from actual objects. \ Machine for shooting stones and makiug a breach, called treJmchet, from Zeitblom's drawings, fifteenth century. Library of Prince Wald- bnrg Wolfegg. At that time there were double trebwiliets, which shot stones by the backward and forward motion of the beam called rod (verge), or arrow (fleohe), one end of which was always loaded while the other returned. The simple trebuchet was put in motion by means of a rope pulled by four men. The trebuchet with a sling was con- structed in much tbe same manner as the simple trebuchet, with this difference, that, at a given moment, a hook fastened to the long end of the beam let fiy one of the ropes, and the stone was shot forth from the tangent of the circle described. 458 War Enginea of the Middle Ages. War engine for shooting arrows (the halista of the ancients, and the Belagerungshalester of the Germans), copied from the Walturius printed at Verona in 1472. Hauslaub Library at Vienna. This machine shoots off the arrow by means of a very strong piece of wood, which, being drawn down by ropes wound round posts, springs back against the beam as soon as the ropes are loosed, and thus propels the arrow. War Enginei of the Middle Ages. 459 Engine ■with gear, for battering in breach (from the German Brechen, break, or from the Keltic brech, hreca, opening), which must have been fai more efficacious than the battering ram, whose blows could only have made a hole in the wall, while the impetus of this machine must have often broken down the entire side . This drawing is copied from those in the Pyrotechnie de VAncelot Lorrain ; the same engine is also drawn in the Walturius of the Hauslaub Library at Vienna. 460 War Engines of the Middle Ages. Slinging engine witli backward and forward motion, from a manu- script, Recueil d'Andens Poetes, in the Imperial Library at Paria. This is one of the simplest engines ; the end of the beam, freed from the holder, rises with rapidity as the other end is weighed down, and giving impetus to the sling, diaohaiges the projectile. Four-wheeled balista {Balista guadrirofa), from the Notitia Utraque turn Orientis turn Occidentis, etc. BS,le, 1552. The author of this Notitia, who has copied notes of the administration of the Roman armies in the East and West, has added drawings of balistas which he copied from machines or pictures of his time. War Engines of the Middle Ages. 46J War engine from the Notitia Utraque cum Orientis tvm Ocddentis, etc. Bale, 1552, where it is called ialista fulminatrix. This engine is interesting on account of the men inside wheels who form its motive power. In the same work may be seen a wheeled boat called by the aathor Libowma, in wiiich the wheels are moved by cxen. 462 War Enffines of the Middle Ages. 10. Iron of a balista arrow, 5 J inches long, found under the ruins of the castle of Russikon, in the Zurich Canton, which was destroyed towards the end of the thirteenth century. 10 B. Iron of a balista arrow, from the Kriegsbuch of Frons- perger, 1573. 1 1. Bow of a balista, from the castle of Damascus. It is of palm, wood, covered with small pieces of horn. Mus^e d'Artillerie, Paris. 12. The same. 13. Besieging or miner's basket, wicker, from a fifteenth- cen- tury manuscript in the Haus- laub Collection, Vienna, fimi' Diver's dress from a fifteenth- century manuscript in the Ambras Collection. In the illustration the figures are quite black, probably intended to imitate leather. War Engines of the Middle Ages. 463 15. Aimed dog carrying a torch to set fire to a camp. Hauslaub Collection, Vienna. 16. Cat with torch to set fire to a besieged place. 17. Bird. The same. 18. Jug in baked earth without a cover, and filled with quick- lime, which the besieged used against the besiegers. It was found in the Ketzerthurm. Cabinet of Antiquities at Zurich. Leonard Fronsperger explains the use of this seem- ingly chQdish projectile in his Kriegshuch (War book), pub- lished at Frankfort in 1573 : "Soil man fiiUen ein Theil mit Asohen unt ungeloeschten Kalk der Klein ist wie Mehl, dervea unter die Feiad gewor- fen mit Krafften dass die Hafen zerbreehen und unter sie streun gleioh wie man das Weihwasser giebtkommt dann in denn Mundt, etc., etc." (These jugs should be filled with ashes and powdered quicklime, and thrown with strength against the enemy; when broken they scatter their contents and sprinkle the enemy as with holy water, and enter into his mouth, &c.) 18 his. Incendiary barrel used by the besiegers in the Middle Ages. From a manuscript, beginning of the fifteenth cen- tury. Hauslavh Library, Vienna. 19. Chariot of intrenchment, used in the seventeenth century in the war against the Turks. 464 War Engines of the Middle Ages. 20. Iron scaling-ladder {Sturmleitel in German), from a German manuscript, beginning of the fifteenth century. Hauslaub Library, Vienna. 21. Danish iron scaling-ladder, with joints and articulations (Stormstige in Danish). Mtiseum of Copenhagen, 22. German iron scaling - ladder with joints and articulations. Dating from the war against the Turks, seventeenth cen- tury. Dresden Mueeum. 23. German scaling-ladder, with scythe-knife, beginning of the seventeenth century. This ingenious instrument, pre- served in the Museum of Munich, is fixed on a long shaft having at the lower end a furrow or channel which screws on to other shafts, and may be lengthened at plea- sure, so as to touch the top of the walls of besieged places, to which it hooks by means of the teeth in the moveable knife. The length of the moveable knife is about 2 feet. War Engines of the Middle Ages. 465 24. Calthrop (Fuesangel in Ger- man), found at Eosna. Museum of Sigmariiigen. 25. Calthrop from the water-colour drawings made by Glocken- thon in 1505 of the arms in the three arsenals of Maxi- milian I. Anibras ColUction. 26. Calthrop from a manuscript of the sixteenth century in the Hauslaub Library, Vienna. 27. Calthrop knife (Fusmngel- Messer in German), about 9 inches long, used in Saxony during the Seven Years' War (eighteenth century). These knives were screwed on to beams of wood and placed under water in moats. The hole in the blade was intended to put a piece of stick through, so as to form a handle to screw the knife. Klemm Collection, Dresden. 28. Cheval de frise {Spanisdher Eeiter in German), from the Prague arsenal. This engine was used as protection against a charge of cavalry. Arsenal of Berlin. 29. Cheval de frise, from the wars of the French republic, eigh- feenth century. Arsenal of Berlin. HI 2 H 466 THE SLING AM) THE STAPP SLING. The sling, whose French name oifronde was derived from the Latin funda {Schleuder in German), which was anciently written fonde, gave its name to the party who took up arms against the court during the minority of Louis XIV., 1648 — 1652. The sling is a weapon whose origin, like that of the bow and arrow, is of remote antiquity. Made of rope or of a leathern thong, the sling is used to hurl stones, and even fire-balls. After placing the missile in the socket, the slinger whirled his weapon round and round, gradually augmenting the speed until the greatest possible amount of swiftness had been attained, when he loosed one of the cords, retaining the other. The sling, the range of which was generally above five hundred paces, was much used by the ancients and during the Middle Ages, at which time it constituted, with the bow, the equipment of by far the greater niunber of foot-soldiers. The inhabitants of the Balearic Islands were celebrated for their skill with this weapon. The Greeks, Romans, and Carthaginians, as well as the Germans, had each their regiments of slingers. The use of the sling has continued even among European armies until the sixteenth century, at which time they were employed to hurl grenades. Savage nations, however, iiuve always adhered to the sling, and there are those among them who have succeeded so far as sometimes With it to resist suc- cessfully the fire of a carbine. The staff sling (in French, fustibale or fusiibalv3, from the Latin fustis, stick, and the Greek /?aXXa), to throw ; Stock Schleuder, in German) was composed of the shaft, about a yard in length, and a leathern sling fixed on to one end. The slinger held it with both hands, and could hurl stones with great violence. This weapon was subsequently em ployed to throw grenades. The nume fustibale was also given to large engines which were a species of catapult intended to hurl heavy missiles. The Sling and Staff Sling. 467 Two illustrations of slings, one with the thong loosened, the other with both thongs held in the slinger's hand; from a tenth-century manuscript. Slinger with his staff sling, from a manuscript of Mathieu Paris, an English chronicler, born at the end of the twelfth century, died in 1259, who was the author of a Mistoria Anglic from 1066 to 1259. 8. Staff sling from a manuscript of the beginning of the fifteenth century. Arribras CollecUon. i. Long-shafted staff sHng, intended to hurl grenades. From a manuscript of the sixteenth century. Library of the Chevalier von Bans- laub at Vienna. 468 THE BLOWPIPE. The blowpipe, or shooting-tube, is called in French sarha- cane, in Italian cerhotana, which latter word is derived from Carpi, the place of manufacture, and from the Latin carina, reed ; in German it is called Blasrohr. At the present day the blowpipe is only used to hunt small birds. This weapon is a simple tube or pipe, through which small earthen balls are blown. As a war weapon the blowpipe was used to shoot poisoned arrows, Greek fire which scattered sparks, and small shot. As the blowpipe is nothing but a tube, varying only in length and thickness, it is needless to give an illustration. The modern ones now employed to kill the little feathered songsters are divided into several pieces, joining together like a fishing rod. BOWS AND AEEOWS. The bow, called in Latin arcus, in German Bogen, is a weapon of offence formed of an elastic piece of metal or wood slightly depressed in the centre, and which, bent by the drawing of the string fixed at each end, shoots off the arrow in the endeavour to straighten itself, as soon as the archer looses the string he has drawn towards him. The arrow in German is called Pfeil. The Scythians, Cretans, Parfchians, and Thracians were as much celebrated in ancient times for their skill in the handling of this weapon as the English archers were during the Christian Middle Ages. The Bayeux tapestries, besides several miniatures, prove that the bow was among the Normans and Britons, as well as among the Kelts and Gauls, an instrument of war, while the Germanic races used it only for the chase ; with the Huns, however, the bow, which was wholly composed of horn, served both purposes. During the twelfth century the archer generally carried two cases, one was the quiver, from the old French word couir, containing the arrows [fleclies in French, from the old German Flitz, but called at that time, according to the Bows and Arrows. 469 chronicles of Saint Denis, pilles and sayettes) ; the other was the bow case. Arrow-heads of the long bow were generally like the quarrells of the cross-bow, which in after years superseded the bow. They were square (carrels and carreaux in French), with two, three, and even foxir points, but seldom barbed like the arrows of ancient days. The length of the bow and arrow varied according to the country and the height of the archer. In England, where the archer shot at least twelve arrows in a minute, and seldom missed his aim at two hundred and forty yards, the length of a bow was the breadth of the archer's span between his outstretched arms, which in a well-proportioned man would equal his height. When bent the English bow measured about half that size, and the arrow was a yard in length. The wood most sought after in France for the making of bows was the yew, which was also employed for cross-bows. In Charles VII.'s time (1422 — 1463) a law was passed for the planting of yew-trees in all the Norman churchyards, so that wood might never fail for the new weapon, which was then in great favour among the French. The bodies of horse and foot archers were maintained for a long period, the royal regiments under Louis XII. (1514) being the last body of archers in France. The bow was used until the introduction of fire-arms and guns ; even later it was still popular, and preferred to the cross-bow, on account of the greater simplicity and sureness of the weapon. The cross-bow, more difficult to bend, necessarily took more time. The cross-bowman could only shoot three bolts during the time in which a skiKul archer might discharge from ten to twelve arrows. Besides this, the rain slackened the string of the cross-bow, thereby taking away all strength, but the long bow-string was easily protected from damp. The loss of the battle of Crecy was partly the result of this accident (1346), for the French cross-bowmen could hardly make any return to the arrows of the English archers, and in 1856, when, after the defeat of Poictiers, the inferiority of the cross-bow in this respect was again shown, bodies of French archers were formed, who soon acquired so great skill as to excite the envy of the nobles, by whom they were dissolved. In England the bow 470 Bows and Arrows. was used mucli later than on the continent, the English archers being so skilful that they long looked with contempt upon the rude and heavy hand-gun, at that time in its infancy. In the reign of Elizabeth (1558 — 1603) the or- ganisation of bodies of archers had attained the greatest degree of perfection ; they were all provided with brigantines and casques. In 1627, at the siege of La EocheUe, we hear of English Archers, mercenaries in the pay of Eichelieu. They are mentioned in the attack on the island of E6. (See, for ancient bows, the Chapters on Arms of the Stone, Iron, and Bronze Ages.) Bows and Arrows 1 471 1. German bow, early part of the Middle Ages. It was about 4 feet 8 inches in length, and made generally of elm or oak. 2. German bow, end of the Middle Ages, from Glockenthon's drawings in the Ambras Col- lection. 3. Italian bow, of the Middle Ages ; they were often of steel, and about 4 feet 8 inches in length. 4. Italian bow, fifteenth century, from an illustration in the Walturiws, printed at Verona in 1472. Bauslavh Library, Vienna. 5. Eastern bow, steel, probably of the time of the Christian Middle Ages. L. 89, Mjis^e d'Artillerie, Paris. 6. German quiver, from the Grerman Mneid of Henry of Waldeck, manuscript of the thirteenth century. Library of Berlin. 7. Persian quiver, from a sixteenth- century manuscript, a copy of the Schah Nameh. Munich Library. 8. Persian bow case. The same. 9. Ivory arm-brace (Spannarmhand in German) to protect the left arm from being struck with the bow-string. 10. Arm-brace. The same. Xi. 97, Musfe d'Artillerie, Paris. 472 Arrow-heads. 11. German barbed arrow-head, 3 inches long; fourteenth cen- tury. Klemm Collection, Dresden. 12. German barbed arrow-head, fourteBUth century. Soter Collection, Augsburg. 13. Hussite arrow - head, fifteenth century. Author's Collection. 14. Ditto. 15. Italian arrow - head, fifteenth century. Museum of Sigmaringen. 16. Shell-framed arrow-head. The same. 17. Iron and copper screw arrow- head. The same. 18. Flower-shaped arrow-head, fif- teenth centui-y. The same. 19. Iron and copper octagonal arrow-head. The same. 20. Ditto, with short barb. The same. 21. Ditto. 22. Ditto, crescent-shaped. 23. Ditto, larger moon-shaped. It was used to hamstring both men and horses. 24. Hatchet - shaped arrow - head, fifteenth century. Museum of Sigmaringen. 25. Ditto. This head beai'S the German eagle, gUt and en- 26. German incendiary arrow, found at Vrach. Museum of Sigmaringen. 27. Ditto, fifteenth century. Manu- script in the Hauslaub Col- lection, Vienna. 28. Ditto. Manuscript of Glocken- thon. Amhras Collection. 29. Ditto, sixteenth century. Frons- perger's Kriegsbuch, 1578. 473 THE CEOSS-BOW. The cross-bow, called in French arhalete, a word which ia derived from the two Latin words arcua and balista,* is believed by M. Eodios (wrongly, as I consider) to have existed among the Greeks, and that they called the weapon gastrafetes, because the cross-bowman rested it on the pit of the stomach. (See the Greek arms, and see also p. 30, and pp. 55 to 59). The Princess Anna Comnena (1083 — 1148), however, only knew the cross-bow from seeing the weapon used by the Northern men-at-arms of the first crusade. There can be no doubt on this point, for she says in her memoirs, " This tzagra, a how we are not acquainted with," etc. The cross-bow — composed of the bow ; the stock (Biistung in German), with nut ; the sight, for aiming ; the winding key, or spring ; and, lastly, of the cross-bow string — is in all pro- bability an invention of the nations stigmatised as barbarians. An Anglo-Saxon manuscript of the eleventh century, in the British Museum, and a mural painting in the Cathedral of Brunswick, executed in the time of Henry the Lion, who died in 1195, represent cross-bowmen ; but the Bayeux tapestries, on the other hajad, of the end of the eleventh and beginning of the twelfth century, portray only archers. Anna Comnena is not the only author of her time who speaks of the cross-bow ; it is mentioned also by William of Tyre. This weapon, which does not appear to have been used in China until the reign of the emperor Kien-Long (1736), was already well known in Trance during the life of Louis le Gros (1108 — 1137). A decree of the second council of the Lateran, held in 1139, prohibits the use of the cross-bow against Christians, but allows it for the purpose of killing miscreants and infidels. In England Eichard Coeur de Lion (1157—1173) for- nished a large number of his foot-soldiers with cross-bows, heedless of the bull of Innocent III., in which the prohibi- tion of the second council of the Lateran was renewed. A short time after, Philip Augustus (1180 — 1223) organised in * When the cross-bow was above the ordinary size, the Germans called it ballestre. The German ballestre was generally used to shoot pebbles, from which it derived its French name galet. 474 The Cross-low. France the first regular bodies of cross-bowmen, both torse and foot, who became of great importance. (See pp. 468 to 470,") As it is needless to repeat here what has already been spoken of in the historical chapter, it is sufficient to describe the different kinds of cross-bows. A. The cross-bow with goat's-foot lever, which machine is intended to string the bow, is sometimes detached, some- times fastened to the stock, the difference being easily seen by the position of the two rests close to the nut (for the purpose of fulcrum to the lever). This weapon was constructed either with or without a stirrup. B. The cross-bow with windlass, in which the windlass (called in French cranequin) is not fixed to the stock. This cross-bow is distinct from the one with goat's-foot lever, by reason of the two rests being placed about six inches below the nut, as the windlass has a much longer catch than the goat's-foot. 0. The cross-bow with windlass is called in French arbalete a tours, arbalete de passe, and de passot. The windlass was called a tours, because that part of it intended to be fixed to the stock to draw the string was often battlemented like a tower. The stock of the windlass cross- bow, when the detached mechanism to draw the bow-string is provided with two cranks and two pulleys, has no fixed rests, but is always worked by a stirrup. The Genoese archers were aimed with this kind of cross-bow at the battle of Agincourt (1420) ; which was also extremely in req[uest among the Belgians, and was particularly used for shooting at a mark, and for the defence of ramparts. In Germany these cross-bows were sometimes from twenty to thirty feet in size. D. The crossbow with wheeled gear is an exceedingly rare kind, the author never having met specimens in any collection, and consequently collecting his knowledge of them from fifteenth-century manuscripts. The wheeled gear, which replaces the windlass and goat's-foot lever, was fixed to the stock of the cross-bow in a groove, and was wound up by means of an equally stationary key. A catch, such as exists in a capstan, prevented the wheel from unwinding when the pressure on the key was relaxed. The illustrations re- present the cross-bow with the stirrup. The Cross-bow. 475 E. The cross-bow (a gajet in Prencli, because the missiles used wore stones) of the sixteenth century is the next in order. Instead of quarrells or cross-bow bolts this weapon shot leaden balls, and even stones. The stock, which between the nut and the bow was generally curved, was often made of iron. This weapon of medium strength is bent by means of a lever fixed to the stock, or with the hand alone. F. The barrelled cross-bow, so called because the groove through which the quarrell slips is covered by a half tube, leaving a passage for the string. This tunnel gives the stock the appearance of a gun. The barrelled cross-bow was used during the seventeenth century, and is not of much strength ; it is bent by means of a stick, or simply with the hand, and has served as a model for the manufacture of modem cross-bows. G. The Chinese cross-bow with sliding chamber, which supplied twenty arrows in succession ; this might be termed a repeating or revolving cross-bow. There are some German cross-bows which, when the weapon is not bent, curve outwards from the stock, instead of towards it, as the steel arm does. This contrary curve was employed to increase the strength of the bow when bent. The bows of the cross-bow, manufactured in layers of wood and horn, were for a long time considered to be phalli of elephants. The missiles used for all cross-bows, with the exception of the pebble-shooting cross-bow, were called quarrells or bolts (Bolzen in German). One kind of quarrell was feathered (vireton in French), so as to regulate the flight by giving a rotatory movement. Another kind (matras, or carreau assommeur in French; Fogelbolzen in German) ended in a round knob, which killed without shedding blood. It was used in hunting, especially against feathered game, when the hunters desired to preserve their spoils uniniured. 476 The Cross-low. German cross-bowmen, from a manuscript, beginning of the fifteenth century. The cross-bow with windlass may be noticed, as well as fiery arrows. One of the soldiers already carries a hand-cannon. Hauslaub Library, Vienna. The Cross-bow. 477 A. Cross-bow with goafs-foot lever (^Armhrust mil Geisfuss, or Sebelarmbrust in German). 1. Cross-liow with goat's-foot lever, from an Anglo-Saxon miniature of the eleventh century. Library of the British Museum. 2. Cross-bow with goat's-foot lever, from a mural painting in the Cathedral of Brunswick, exe- cuted in the reign of Henry the Lion, who died in 1195. 3. Cross-bow with goat's-foot lever. It may be noticed that the rests X are placed close to the sides of the nut. The cata- logue of the Museum of Copen- hagen, where this weapon is exhibited, has engraved it along with a windlass, which cannot possibly belong to it, for the cross-bow with windlass has the rests x placed at least six inches below the nut, the lever of the windlass being much longer than that of the goat's- foot. 4. Goat's-foot lever (Geisfuss in German) intended to bend the preceding cross-bow. 4 bis. Cross-bow with goat's-foot lever fixed to the stock.* * A similar weapon in iron wood, sixteenth century, belonging to Ferdinand I., proved by the inscrip- tion on the bow : Dom Fernando rei de Romano, followed by four Golden Fleeces. It bears the name of the Spanish armourer, Juan Deneinas. This valuable cross-bow once be- longed to M. Spengel, at Munich, but is at present in the collection of the Count of Nieuwerkerke. 478 The Cross-how. B. Cross-bow with windlass (TFin- denamibrmt in German). 5. German cross-bow with windlass, fifteenth century. The rests x are placed about 6 inches be- low the nut. Imperial Gewehrkammer, Vienna. 6. Windlass for the preceding cross- bow. Imperial Qewehrkammer, Vienna. 7. Swiss cross-bow with windlass, fifteenth century. Same de- scription as No. 5. 8. Windlass tor the preceding cross ■ bow. 9. Tyrolese cross-bow with wind- lass, end of the fifteenth cen- tury. Same description as for Nos. 5 and 7. The Cross-hoiv. 479 10. CroBS-bow with the windlass applied to the stock. It will be remarked that the rests x are placed from 4 to about 6 inches below the nut, as the grip of the windlass requires more space than the goat's- foot lever. 0. Cross-bow with latch, sometimes styled simply Latch ( Flaschen- mg Armhrusl in German). 11. Cross-bow with windlass. There are no rests, for the windlass is fitted to the foot of the stock. 12. Windlass {FUachenzug in Ger- man) for the preceding cross- bow. 13. Part of a windlass, in the shape of a battlemented tower. Mus^e d'AHiUerie, Fans. 14. Oross-bowwithwindlassfastened on. 480 The Co'ORs-how. 15. Bow of a German cross-bow with windlass, about i feet 8 inches, beginning of the fif- teenth century. This huge weapon, whose stock measures somewhat over 4 feet 6 inches, is exhibited in the Arsenal of the city of Munich. 15 a. Cross-bow to shoot two arrows at a time, from the Walturius, 1472. Sauslaub Library, Vienna. Wheel cross-bow with gear and catch (^Zahnradamibrust, in German). 15 B. Wheel cross-bow with gear, from a manuscript, beginning of the fifteenth century. Ambras Collection. E. Prodd, a light cross-bow, used chiefly in field sports; six- teenth century {Stein- or Kugelarmhrust, also BaUedre in German). 16. Prodd. tiS shout pebbles, The Cr OSS-how. 17. steel chain of a prodd ; a very rare kind. Az Collection, Lintz. IS. Iron prodd, end of the seven- teenth century. F. Barrelled cross-bow (Lant- or Hinntn-Amibrust in German). 19. Groovuil or barrelled cross-bow, seventeenth century. L. 72, Mus^e d'Artillerie, Paris. G. Chinese cross-bow with sliding ;xx> chamber (^Chinesische Bepeti- w^^ tions Armhrmt in German). 20. Chinese cross-bow with sliding chamber, for shooting twenty arrows successively. Mus^e d'Artillene, Paris, 2 1 482 The Cross-hew and QuarreU. 21. Gun cross-bow (Pistolen-Arm- brust in German), sixteenth century, once belonging to Ferdinand I. (1503—1564), shown by the name Ferdi- nandus and his coat of arms engi'aved on the barrel and on the steel bow. This cross-bow, serving a twofold purpose, measures 30 inches by 22^. National Museum, of Munich. 22. Quarrell, or cross-bow bolt (Bohen in German), used at the battle of Sempach (1386 ;. Arsenal of Geneva. ^^=m^ 500 Camions, various. a*.. A. 37, ?7 A and B. German eerpentme cannons (called OrgelgeschUtz in German : see also, at p. 65, the Todtenorgel, or deatli organ), wrought iron, each with five muzzle - loading barrels, middle of the fifteenth century. Mmeum of Sigmaringen, Geiman serpentine organ with forty cannons, from the repro- dactions des armes de VEm- pereur Maximilien I., drawn in 1505, by Nicolas Glocken- thon. Ambras Collection. See, farther on, the " organs " of the seventeenth century. Cannons with trunnions, which make their first appearance in the middle of the fifteenth century. German cannon with chamber and trunnions, from the drawings by Glockenthon. See also No. 23. Ambras Collection. Carmons, various. 501 38. German war chariot, called in French Bibaudequin, fortified with arrows and fonr bronze /oZeonefa. Prom Glockenthon's drawings. Jmhras Collection. 502 Lannons, various. Cannons, various. 503 39. Two small falconets or cannons, iron, with trunniona, from Gljcken- thon's dxawings. Amhras CoXiection, 40. Breech-loading cannon with trunnions, from a manuscript of Senftenberg, a commander of artillery at Dantzic ; sixteenth cen- tury. 41. Muzzle-loading cannon with trunnions, called by Fronsperger, in his Kriegsbueh, published at Frankfort in 1573, Basilmm; weighing 75 hundredweight, carrying 70 lbs. of iron, and drawn by 25 horses. By the side is the loading rod of copper, sometimes called lanteme, already mentioned imder No. 33. The artillery- man takes his level by means of a square. The Austrian army stUI used the loader at the battle of MoUwitz in 1741, while the Prussians had for some time used a prepared charge or cartridge. The rammer and sponge are still used, 42. Breech-loading and rifled cannon with trunnions, end of the six- teenth century. Length, 6 feet 4 inches ; diameter, 7 inches ; calibre, 3 inches. The breech is grooved, which closes the end of the cannon. By the side is a section of the chamber. Arsenal of Zurich. Cannons, various. 43. Serpentine organ, with forty- two cannons, to be fired six at once, seventeenth century. Arsenal of Soleure. 44. Small Swedish muzzle-loading cannon, with trunnions, seven- teenth century. Length, 3 feet 8 inches ; diameter, 4 inches. The baiTel is formed of a thin copper tube, wired outside, and the whole covered with leather. Arsenals of Berlin and Ham- burg, Muse'e d'Artillerie, Paris, and collection of the King of Sweden. In the Imperial Ar- senal at Vienna is a leathern gun lined with a bronze tube, which the city of Augsburg offered to the Emperor Joseph I. (1705-1711). 45. Muzzle-loading cannon, with trunnions, made of a tube of copper encased in a thick coating of hme, and the whole covered with leather : this was a light weapon, and easy to carry in mountainous districts ; the length is 7 feet ; it belongs to the seventeenth century. Arsenal of Zurich, 46. Swiss breech- loading serpentine cannon, seventeenth century. Arsenal of Soleure. 47. Swiss breech-loading serpentine cannon, with the maker's name, Zell Blasi, 1614. Arsenal of Bale. 506 Cannons, various. Cannons, various. 507 -46. Small iron breeoli - loading cannon, on revolving gun-carriage (German, Drehbasse). This piece was left at Munich in 1632 by Gustavus Adolphus. 49. Small copper cannon (Swiss), adapted for firing ten successive charges. The length is 27 inches, and it bears the signature of Welten, Inventor, 1742. Arsenal of Zurich. 50. Breech loading cannon of the eighteenth century, from the memoirs of Colonel Wurstemberger. 51. Paixhars howitzer cannon, invented by H. C. Paixliana. Cannons, various. Catino7is. variouj. 509 52. Armstrong gun, 600 lb. projectile, invented by Sir William Arm- strong & Co. 53. Large breech-loading Prussian cannon, of steel, cast in tlie foundry of M. Krupp, exhibited in Paris in 1867. It weighs rather under 50 tons, and the shot 1192 pounds. 54. Prussian rifled field-piece, loaded at the breech. It is of cast steel, and was invented by M. Krupp. This cannon, which is of the same power as the French " pifece de douze," is loaded with solid shot, covered with a leaden casing, so as to fit closely into the rifling, 55. Breech of preceding guns, on M. Krupp's principle. The closing is effected by means of a lateral shield, which is pressed by a turn ot the key, and the breech closed at the momen* of firing. 510 Projeotiles. ."iU. A grenade enclosed in a canvas- bag, sixteenth century : this- was discharged frora a mortar. 57. Inner casing of the preceding grenade. .58. Grape-shot (German, Trauhen- liageT), sixteenth century. It consisted of sixteen balls placed around a wooden stem, and enclosed in a bag. Sg 59. Interior view of preceding shot. 60. Grape-shot composed of eighteen balls. 61. Interior view of the preceding shot. 02. Chain - shot (French, ohalne ramge). 63. Shot united together. 64. Double shot with connecting rod. 'jpt 65. Linstock (German, iMnfeiisioc/j; French, Porte-mache). Woolwich Arsenal. Portable or Hand Fire-arms. 511 The history of hand fire-arms has been already given at pages 67 to 74, and continued at the begimung of this chapter. 1. Hand cannon for foot soldier in cast iron, belonging to the first half of the fom-teenth century. The touch-hole (German, Ziind- loch) is on the upper part of the cannon. Arsenal of Berne, and National Museum of Prague. 2. Hand cannon for foot soldier, from a MS. of the end of the fourteenth century. The touch- hole is on the top of the cannon. 8. Hand cannon for foot soldier, from a manuscript of the year 1172, in the library of Haus- laub at Vienna. 4. Hand cannon for a knight, called a petronel (see historical chap- ter), from a manuscript in the ancient library of Bui'gundy. The articulated plate armour is characteristic of the latter half of the fifteenth century, though the bassinet has a movable vizor. These hand cannons were in use at the same time as the serpentine arquebnse, and even as the flint and steel arquebuses and muskets, i.e. till tire beginning of the sixteenth century, as may be seen from the drawings, by Glockenthon, of the arms of the Emperor Maximilian I. (1505). Hand Fire-arms. 5. German hand cannon, fixed on wooden boards or standa, be- longing to the beginning of the sixteenth century. The touch- hole is still on the upper pai't of the cannon. From the draw- ings of Glockenthon, done in 1505. Amhras CoUeetion, 6. German hand cannon in fluted iron, of the beginning of the sixteenth century, or end of the fifteenth century. It is only 9J inches in length, 2 inches in diameter, and is fixed on to a piece of oak about 5 feet in length. In the Germanic Mu- seum, where it is wrongly as- cribed to the fourteenth century. 7. Hand cannon in wrought iron, called a petronel, to he used by a knight. It is of the end of the fifteenth century. Museum of Artillery, Paris. 8. Hand cannon with stock, of the end of the fourteenth century. The touch-hole is on the top of the cannon. 9. Angular hand cannon on stock ; to be used in defending ram- parts. It is a little over 6 feet in length, and the touch-hole is on the top of the cannon. This piece was used in the de- fence of Morat against Charles le Te'meraire (1479). Gymnasium of Morat. 10. Eight-sided hand cannon with stock. The touch-hole, which is on the top of the cannon, has a cover moving on a pivot. This cannon is 54 inches in length, and the balls or bullets about IJ inch in diameter. It belongs to the first part of tlie fifteenth century. Museum of Dresden. 10 B. Persian matchlock cannon, copied from the Scliah-Namen, in the Library of Munich, Hand Fire-arms. 513 11. Hand cannon on stock, end of the fourteentli, or beginning of the fifteenth century. In this piece the touch-hole is on the right side. 12. Hand cannon -with serpentine, a match-holder, without trig- ger or spring, invented about the year 1424. 13. Serpentine or guncock for match, without trigger or spring. 14. Serpentine without trigger, but with spring. 15. Serpentine with spring, but without trigger. 16. Serpentine lock, without trigger or spring. 17. Hackbuss lock with spring and trigger. 18. Hackbuss (in German, Saken- biiclise) or hand cannon, with butt end and serpentine lock. It belongs to the second half of the fifteenth century. The match is no longer loose, but fixed to the serpentine, which springs back by means of the trigger. This sort of cannon is generally about 40 inches in length, and it is usually provided with a hook, so that when it is placed on a wall it cannot slip back. The hack- buss without a hook is, as a rule, better made, and was subsequently called arqueiuse with matchlock. It had also front and back sights (in Ger- man, Visir und Kern). 2 L 514 Hana Fire-arms. 19. Chinese arquebuse. Tower of London. 20. Swiss arquebuse of the second half of the fifteenth century. Arsenal of Scliaffhauseii. 21. Double arquebuse (in German, DoppelhaJcen). This weapon had two serpentines, or dog- heads, falling from opposite points, and was generally used in defending ramparts; the barrel was usually from 5 to 6§ feet in length. 22. Hackbuss, loaded from the breech by means of a revolv- ing chamber, a weapon be- longing to the beginning of the sixteenth century. Arsenal of Berne. In the Museum of Zurich there is a double arquebuse, for using on ramparts, loaded from the breech, and 10 feet in length. It is of the end of the sixteenth century, and has a wheel-lock and serpentine, 23. Hackbuss and gun fork (Ger- mau, Gabel), from the draw- ings of Glockenthon; it may also be seen in the engraving of the "Triumph of the Emperor Maximilian I." From this we see that the hackbuss, or match arquebuse, was used for a long time together with the wheel-lock arquebuse. Hand Fire-arms. 515 24. Serpentine haokbuss with match, also called musket. It is also 3 I fm-oished with a fork, called fourguine in French. 25. Hackbuss or musket, with link.* Tower of London. 26. Serpentine haokbuss with link, also called arquebuse, loaded from the breech by means of a revolving chamber. It dates from the year 1537, and bears the initials W. H. by the side of a fleur-de-lys. 7, Torwer of London. 26 irts. Eye protector, belonging to a musket in the Arsenal of Geneva. 27. Hand cannon with rasp, early part of tlie sixteentli century. It is entirely of iron, and is called Monchsbiichse (monk's arquebuse). For a very long time it was wrongly thought to be the first fire-arm ever made, and to have belonged to a monk named Berthold Schwartz (1290-1320), who was also said to have invented gunpowder. This little weapon is about HJ inches in length, and the barrel 5 inches in diameter. It preceded the wlieel-lock, and appears to have suggested the idea of it. A rasp scatters sparks from the sdphurous pyrites by fric- tion. 3Iuseum of Dresden. " It may be noticed that the author has classed all the serpentine and link or match fire-arms as hack- busses, though they were sometimes called arquebuses and link muskets. The musket is distinguished from the arquebuse by its larger dimen- sions. 516 Hand Fire-arms. 28. Hand cannon on rest, and German arrjucbusier. From the designa of Glookenthon of the tluxe Arsenals of the Emperor Maximilian I. Amhras ColUetion. Tliis engraving is very interesting on account of the study of the costumes, while it proves that the simple hand cannon of a large size was still used along with flint and wheel lock arqnpVmspa. Ewnd Fire-arms. 517 29. Serpentine hand cannon and German soldier, from the designs of Glockenthon, spoken of ia the preceding page. This weapon appears to have three barrels, bnt as only one terpentine is visible, most likely the two other barrels were discharged by means of a detached link. 518 Rand Fire-arms. Hand Fire-arms 31. Wheel-lock (in German, Mad- tchloss), invented at Nurem- berg in 1515.* It is in ten pieces, and is not at all like tbe serpentine locks, for the match is superseded by the sulphurous pyrites (in German, Scliwefelkies). 32. Same as above (inside view). 33. Same as above (outside view). 34. Seifpentine and wheel-look. 35. Very elaborate serpentine and wheel-lock. 36. Key for wheel-lock. * Mr. Pritchett, an English col- lector, has a wheel-lock, which he believes to date from the year 1509. 520 Arquebuses and Muslcets. 37. Wheel-lock arquebuse of the sixteenth century. Museum of Artillery, Paris. 38. Wheel-lock musket of the six- teenth century. Mtiseum of Artillery, Paris. 39. Wheel-lock musket of the six- teenth centmy. It is loaded from the breech by means of a revolving chamber. Museum of Sigmaringen. The Museum of Dresden has a similar one. 40. Beat of wheel-lock musket (in German, Musketen Gabel), of the beginning of the seven- teenth century. It is about 5 feet 10 inches in length. Museum of Sigmaringen. Arquebuses and Muskets. 52] il. Rest ior luuoket, about 5 feet 2 inches in length. It is .i three-sided dart of steel damat^- cened with gold, and fastencil to it is a wheel-lock pistol. This weapon belongs to the sixteenth century, and re- sembles the preceding one. Historical Museum of the Monbijoii Palace at Berlin. i'2. Ecst for musket Gabeldegeri}, of the beginning of the seventeenth century. Collection of I'rinee Charles at Berlin. 13. Blunderbuss with wheel-lock and copper barrel, covered over with a thick leathern casing in the same way as the Swedish cannons. The blun- derbuss is 27 inches iu length, and barrel nearly 2 inches in diameter. Museum of Sigmaringen. Snajjliaunces and Flint-lochs. 44. Supplementary trigger, or triggoi of precision (Stecher In Ger- man), invented in the year 1543 at Munich. It could be fixed to all kinds of wheel- locks. 45. Suaphaunoe lock to be used with the sulphurous pyrites. 46. Flint-lock, probably invented in Fi-ance between 1630 and 1640. Ancient model (out- side view). 47. Same as above (inside view). 48. Flint-lock of French gun of the year 1670 (outside view). 49. Same as above (inside view). 524 Mint-looli Guns and Revolver Arms. Flint-lock Guns and Revolver Arms. 525 50. Flint-look and bayonet gun, French, of the seventeenth century. 51. Prussian flint-lock and bayonet gun, time of Frederick the Great. In 1730 an iron ramrod was added to this weapon, an addition which contributed greatly to the victory of the battle of Mollwitz. Prince Leopold I. of Anhalt-Dessau, the organizer of the Prussian infantry, had already introduced the iron ramrod in his own regiment in 1698. 52. German repetition gun, grooved and adapted for firing six shots successively, of the seventeenth century. Museam of Sigmaringen. 53. German revolver, with turning cylimier, filing four shots, end of the eighteenth century. Museum of Sigmaringen. 526 Flint-lock Guns and Revolver Arms. Flint-lock Guns and Bmiolver Arms. 527 54, Carbine revolver, with taming eyliQder, firing eight shots, for cavalry use. 55. Raquetle gun of the eighteenth century. Arsenal of Berlin. 56 A and b. Piston and percussion locks, invented in 1807 by the Scottish gunsmith, Forsyth. 57. Breech-loading percussion gun, made on tlie Lefancheux system. 58. Same as above. This engi-aving represents the gun open and ready to receive the charge. 528 Flint-loch Guns and Revolver Arms. 59. Prussian needJe-gun, invented by n German named Nicolas Dreyse, born in 1827, died in 1868. The weapon is repre- sented open and ready to receive the charge. CO. French needle-gun, invented by M. Chassepot in 1866, upon the Dreyse model. The gun is represented open and ready to receive the charge. 01. Spencer repetition guii of the middle of the nineteenth cen- tury. It was invented by ]^ Icssrs. Spencer of Winchester. This sort of gun was a German iriVentiou originally, as may be seen from the weapon pre- served (see page 524, No. 52). M. Dreyse had already made several experiments, in 1828, witli a gun adapted for re- peated discharges, of his own invention ; but finding it in- ferior to his needle-gun he gave it up. Nevertheless, his son has taken up the inven- tion, and continues liis expcri- mente. 529 TUB PISTOL. This weapon probably derives its name from the word pistallo, which means pommel, and not from Pistoja, for it appears not to have been first made at Pistoja, but at Perugia, where they made some small hand cannons a hand's span in length.* I do not know of a single Museum which possesses a match- lock pistol. The Mdnchsbiichse in the Dresden Museum, that is, the small hand cannon with a rasp, spoken of in the historical chapter, and in the introduction to this one, appears to have preceded the wheel-lock pistol, which is the most ancient weapon of this kind at present in existence. The coup de poing, a small pistol, which the Germans call Terzerol, is not a modern invention, for the author has one of the same kind, with a wheel-lock, of the sixteenth century. It is made entirely of iron, and the barrel is only 6k inches in length. The revolver pistol, as well as revolver guns, existed in the seventeenth and eighteenth centuries, and those made at the present day, amongst which the Colt revolver is the most celebrated, cannot be called inventions, but only improvements on an old invention. * The Eoman span is about 7| inches. 330 Pistols. 64. Wheel-lock pistol of the six- teenth century. This was the sort of pistol used by the German cavalry, and also by the Bitter, or knights. 65. Double wheel-lock, end of the sixteenth century. Arsenal of Zui-ich. The Dresdsn Mu- seum has some similar ones with double •wheel-looks and three barrels. 66. Wheel-lock pistol with double barrel, beginning of the seventeenth century. Tower of London. 67. Wheel-lock pistol, firing seven shots. 1 of Sig\ 68. Bnrrel of the preceding pistol. 532 Pistols Fidols. 533 69. Wheel-lock and mortar pistol, called in German Katzenkopf, of the seventeenth century. Arsenah of Woolwicli and Berlin. 70. Wheel-lock and mortar pistol of the seventeenth century. It is entirely of iron. GaslU of Lowmberg, on the Wilhdmshohe near Cassel. 71. Flint-lock pistol, end of the seventeenth century. Tower of London. 72. Pistol with flint-lock, of the beginning of the eighteenth century. Museum of Prague and Gewehrkammer (^Museum) at Dresden. 73. Coifs revolver, invented by Samuel Colt, of the United States, in 1835. 74. Mat revolver, invented a short time back by M. Le Mat. 534 Pistols and Various Appliances for Fire-arrm. 76 75. Priming turnscrew for wheel- lock pistols. Arsenal of Berlin. 76. Same as above. Ternow Collection at Berlin. 77 77. Priming tm-atorew for wheel- lock pistol. Museum of Fragile and Spengel Collection at Munich. 78. Powder eprouvette, or appliance for trying the strength of powder with flint and wlieel- lock. 79. Powder eprouvette with screw and rack. 80. Powder eprouvette with pendu- lum action. 81. Matchlock case for musketeer. 82. Matchlock case for Bohemian grenadier. Author's Collec- tion. Similar ones are to be seen in the historical museum of the Palace of Monbijou at Berlin, and in the collection of arms of the Prince of Lobko- witz at Eaudnitz in Bohemia S?, Arquebusier's ammunition bag. end of the fifteenth century, from the designs of Glocken- thon. Amhrae Collection Belts and Powder-flasks. 535 84. Baldrick, or cross-belt, belonging to a musketeer,* fitted ■with wooden capsules (PafrojieTi- Giirtel in German). 85. Same as above. This baldrick is also fitted witli a priming- horn, and a bag for bullets and links. 86. German primer, end of the sixteenth century, made of oak inlaid with ivory and gilt copper. Meyrick Gollecticm. 87. Italian primer, or touch-box QZundpvlverjiasche), end of the sixteenth century. It is made of gold. Meyrick Collection. 88. German powder-flask for arqne- busier, second half of the six- teenth century. * In loading the arquebuse the powder-flask was used. We see therefore conclusively that this belt must have belonged to a musketeer, as it is fitted with wooden cap- snlee (German, Fulvermassen). 536 Powder-horns. 89. German powder-horn (German, PulverhoTTi), called Saxon, about 12| inches in length, end of the sixteenth century. The light part of the horn is ornamented with some excel- lent carved work. The mount- ings are in iron. Authors Collection, 90. Powder-flast (Fulverflasche) in boiled leather, ornamented with iron. 91. German powder-flask of the sixteenth century. It is made of buck-horn, and is 9 inches in length. Museum of Sigrfniaringen. 92. German powder-flask in ivory, of the seventeenth century; it is 7 inches in length. Museum of Sigmaringen. 93. German powder-horn in ivory, 11 J inches in length. Museum of Sigmaringen. 94. German powder-horn of the beginning of the seventeenth century. It is 17 inches in length. Museum of Sigmaringen. 537 yni. THE AIE-GUN. THE air-gim (German, Windbuchse), invented by Gnter of Naremberg in 1560, and improved on successively by Gerlacb and by Sars of Berlin, by Contriner of Vienna, FacMer of Liege, Martin Fischer of Suhl, Futter of Dresden, Scbreiber of Halle (1760—1769), C. G. Werner of Leipsic (1750— 1780), Gottscbe of Merseburg, Miiller of Warsaw, Valentin Sieglang of Frankfort-on-tbe-Main, Vrel of Coblentz, John and Nicholas BouUlet of Saint-Etienne, Bate of England, Facka Speyer of Holland, and others, is an explosive weapon, fired by the air, which, being compressed by an air-pump, is allowed to escape rapidly. Two sorts of air-guns are known of : one in which the air is compressed in the butt-end, the other in which it is contained in a copper ball, placed above or below the barrel. This gun, the use of which is forbidden in France, ought to be classed amongst the weapons adapted for successive discharges, because some of the barrels of these guns are able to contain as many as twenty bullets, to be fired in succession without reloading. It was used in the Austrian war at the end of the eighteenth century, and became the special weapon of some regiments. 538 Air-guns. Air-gwns. 539 1. Air-gun, with copper barrel and ball; the latter is placed below the barrel. Arsenal of Prince Lohkowitz at Baudmitz in Bohemia. 2. Same as above. An air-gun of the same make, but bearing the sig- nature, T. G. Sars, Berlin, is in the Museum of Artillery in Paris, No. 1348. 3. Air-gun, in which the receptacle for air is placed on the upper part of the barrel. Arsenal of Berlin. No. 1349, in the Museum of ArtUlery, Paris, is on exactly the same principle. i. Air-gun, with the receptacle for air placed in the butt-end, made by Contriner of Vienna. Arsenal of Berlin. In the Museum of Ar- tillery at Paris there are several air-guns yiith the receptacle for air placed in the butt-end. 540 IX. THE AKT OF THE ARMOURER AND ARQUEBUSIER.*— MONOGRAMS, INITIALS, AND NAMES OP ARMOURERS. THE East has always been famed for tlie beauty of her pageantry weapons, and at a time when the greater part of Europe made use of rudely-forged arms, Hindustan, Persia, Khorassan, and even Java had attained to a great per- fection in the arts of enamelling,t inlaying (Tauchierarbeii in German), and damascening. On the other hand, the knowledge of embossing iron, and of making complete suits of articulated armour, belongs much more to the Christian Middle Ages, and northern nations of recent civilization, than to the ancients, and to eastern people. At the end of the fifteenth century the embossers of Central Europe had already excelled the Persian and Greek armourers in respect of their art, and had also arrived at the highest degree of art combined with great practical strength and durability of work. The Eenaissance of art, the influence of which showed itself in an elaborate method of working up details and in beautiful chasings (Ausgestochene Arheiten), can only be said to have brought about a decadence, for it adopted designs * At the present day the word armourer means a maker of defensive and offensive arms. Formerly only a maker of armour was called armourer, while an arquebusier was a maker of portable and large fire- arms. t Enamel-work (i?maii, oiScIimelz or TaiKMerarbeif) is inlajing small pieces and ornaments of black enamel (^galena) in precious metals aud ill other materials. Galena is a mineral composition of lead, sulphur, and earthy substances. There is an autimonial galena called silver galena, iron galena, bismuth galena, and mock galena. Damascening on steel is the inlaying of small threads of gold or silver into iron or steel. Damasked steel, also called Indian or Wooiz steel, must not be confounded with embossed steel, for it is steel waved or watered in differ- ent shades. The words enamelling, inlaying, and damascening, are very Armourers and Gunmahers. 541 of a past age, which were not at all in harmony with the new inventions and improvements. The armourer of that time, who was able to make the beU of a helmet in one entire piece without the aid of machinery, had also in many cases designed suits of armour, which, for beauty of workmanship and for ingenuity of design, will always make an imitator despair. often confounded one with another, for, the fact is, they all mean inlay- ing on metal, just as inlaying on wood and other vegetable matter is called marqueterie. Damascus steel is melted steel on which many waved patterns are formed by the presence of carburet of iron, which is brought out by means of acids. Other waved or watered patterns are made by means of small quantities of metals, such as platina, silver, or palladium. There are grey, black, and brown damasks, which water the steel when mixed with it. Clouet, in 1804, was the first man in France to imitate damascus steel, the production of which has been very greatly improved on by De- grand, Gurgey, Conleause, and parti- cularly by Stodart and Faraday in 1822. The factories of the Bouchee du Blione sent their damascened blades to the East. The town of Liege used the ribbon damask for a very long time in the manufacture of their cannons, guns, and carbines used in hunting, even for the com- mon ones, and they sold them at an almost incredibly cheap rate. Damascening is an entirely dif- ferent work from the damas, being only inlaying, which is done in the following manner: As soon as the workman has fired the steel blade or plate, lie engraves with a tool the subject he wishes to represent; in the crevice he inlays a narrow thread of metal, which he works in with a blunt chisel : as soon as the design is filled in, he goes over the whole with a very fine file. Damas- cening was known and practised in Italy, Spain, and Germany in the Middle Ages and during the Eenaissance period. It was not introduced into France until the reign of Henri IV. Embossing {Treiben in German), chasing (AussteaTien), and engrav- ing (Stecheri), are words otfen mistaken one for the other, though the difference is great and very important. 542 Armourers and Gunmakers. Very few documents relating to tlie armour of the Middle Ages have come down to us. In the chapter which treats of complete suits of armour of this time, there is a represen- tation of an illumination of the thirteenth century (p. 178), which shows us an armourer making a helm; besides this the Weisse Konig, a work written entirely by the Emperor Maximilian I. about the end of the fifteenth century, repre- sents the complete workshop of one of these armourers. Italy and Germany have been especially celebrated for the manufacture of defensive arms, whilst Spain has been re- nowned for the manufacture of blades, amongst which Toledo ones were the best. In Italy this manufacture was conducted on so large a scale, that the armom-ers of the single town of Milan were able, after the battle of Macalo (1427), to supply in a few days arms and armour for 4000 cavalry and 2000 infantry soldiers. Filippo Nigroli and his brothers, who worked for Charles V. and for Francis I., John Ambrogio the elder, Bernardo Civo, and Hieronimo Spacini, a Milanese, the maker of the famous shield of Charles V., are the most celebrated Italian armourers, to which names may be added Figino, Ghinello, Pellizoni, and Piatti. It was more par- ticularly at the period of the Eenaissance that Italian armour attained its highest perfection ; during the Middle Ages it could not bear comparison with German, Hispano-Moorish, French, and English workmanship. As far as regards portable fire-arms, Italy (where pistols were probably first invented) holds the highest place. Antonio Picinino, Andrea di Ferrara, of the seventeenth century, for sword blades; Ventura Cani, Lazarino Comuiazzi, Colombo and Badile, Francino, Mutto, Berselli, Bonisolo, Giocatane and Cotel, of the eighteenth century, for fire-arms — are names that cannot be forgotten, because their signatures are stamped on arms which have been collected from every quarter on account of their superior workmanship. In Spain, Madrid, Cordova, Cuenga, Catugel, Saint-Clement, Cuella, Badajoz, Valencia, Seville, Valladolid, Saragossa, Orgoz, Bilbao, and particularly Toledo, are the cities most celebrated for their manufactories of blades, and farther on will be found more than two hundi-ed monograms, copied from those on arms, which, however, are none of them of an Arnwurers a)id Gunmahers. 543 earlier date than the second half of the sixteenth century ; but it must be mentioned that in several of these places there were some made as early as the thirteenth century, which was due, as nearly all the industry of the Spaniards was, in great measure to the Moors. The steel, or rather iron, used in these manufactories, was brought from the mines of Biscaye and Guipuscoa. Germany (where the monk Schwartz of Freiburg, in Breis- gau, in the fourteenth century, had made the first st«p in Euro- pean artillery) was famous already during the second part of the Middle Ages, and no less so during the Eenaissance period. After Eudolf of Nuremberg had in 1306 discovered the art of wire-drawing (Drahiziehn, Grerman), by which riveted mail, or suits a points Gorges, were brought within the reach of almost every man-at-arms, jointed plate armour, of which all the defensive improvements, and probably the very inven- tion, are fairly due to ai-mom-ers from beyond the Ehine, attained, towards the end of the Middle Ages, or in the Eenaissance, a high degree of perfection. In the hands of Desiderius Kollmann of Augsburg, of Lorenz Plattner, Wilhelm Seussenhofer, and others, the magnificent armours of Maximilian I., Charles V., and Francis I., rose to the dignity of objects of fine art, the taste of which was, however, even then unfavourably influenced by foreign admixture. Seussenhofer died in 1547, Kollmann flourished about 1532, at which date he furnished, among others, to Philip of Spain, armour of great beauty, which is still preserved. The admirable suit for horse and rider in the Dresden Museum, on which the artist has represented the Labours of Hercules, in all probability issued from the workshop of Kollmann, who held at that time perhaps the highest rank among armourers, and received for this suit fourteen thousand crowns, a sum which, bearing in mind the relative value of money at that age, appears truly gigantic for a single suit of armour. He held one of the highest ranks amongst German armourers of that time. M. de Hefner-Alteneck has published, by Bruckmann of Munich,* 86 of the 170 Indian-ink sketches, representing * " Dessins originanx de maitrea Allemands pour Amrnres de luxe destinees a des roia de France," published by J. H. de Hefner-Alteneok, 544 Armoiiyers and GunmaJcers. mmi'm Armourers cmd Gunmahers. 545 more than 25 proposed complete suits of armour for man and horse, which were designed by the painters Schwarz (who died in 1597), Van Achen, Brockherger, and John Milich (born at Munich in 1517, died in 1572), for the armourers of Munich and Augsburg.* Spain also obtained from Munich some of the most costly of the suits of armour now in the Armeria real de Madrid, there marked as Italian and Spanish arms. Thanks, however, to the researches of M. le Baron G. de Werthern, the Prussian photographed at the photographic institute of Frederick Biuckmann at Munich. Polio. Several other of these designs belong to General von ilanslaub at Vienna, and to M. DestaUleur, government architect at Paris : they were !>!! bought in 1840 at the sale of the collection of State Councillor Kirschbaum. * These drawings, which bear evident traces of liaving boen used, and in which all indicates the work of the artists above named, as known to us thT0U2:h German engravings (vide the last two illustrations, selected indiscriminately), are the designs for each separate piece in the armours of Francis I., Henri II., and tlie Emperor Eodolph II., hitherto fiJsely ascribed to Italian or Spanish armourers. ii N 546 Armourers and Qunmakers. ambassador, among the aroliives, no farther doubt can exist on tbe matter. This is the copy of the letter written by M. le Baron de Werthern : " We had here last winter two of our countrymen, M. Ber- genroth and M. Friedmann, who had been sent by the English government to examine the records of Madrid and Simancas. " A casual observation of M. Bergenroth concerning the influence of German art in Spain, gave me the idea of engaging M. Fried mann to examine the accounts of the reigns of Charles V. and Philip II., to see if there were not the names of German armourers who must undoubtedly have been the makers of some of the beautiful suits of armour preserved in the Arsenal of Madrid, the style and workman- ship of which seemed to indicate the hand of a German artist. " I send you the result of these researches, which have fully confirmed my suppositions." And farther on : " M. Bergen- roth recollects perfectly having seen in the records of the reign of Charles V. several accounts which show also some other names of celebrated German armourers. " He has promised me that on his return next winter I shall have a copy. " (Signed) Babon G. de Weethern, " Prussian Ambassador. " Madrid, 13th April, 1866." TEXTUAL ANB ATJTHOMZBD EXTEACT FEOM THE AEOHIVES. Simancas Estado. Leg. 1565, Fol. 33. Anuentas de la oapa de don Philipe de Austria prinoipe de Espana. Augsburg. — 755i esoudoa de oro por diez copas de plata donado war- pradoe aqui a razon de 17i y 16 Plonucel mareo. — ^Aug. 25 Hebr. 15-49. Augsburg. — Por pagas compradas an Aqueta, 1720 due. — Brus., 30 IMay, 1549. Munich. — Por 8 arcabuzes h Pater Pah von Minichen, 100 escudos de oro. — Antwerp, 19 Sept., 1549. Augsburg. — Por oiertas armur que ha de haoer Maestre Bulff, veino de Lanuete (wheel-lock musket) 100 escudos de 22 bacor. — Auq., 18 Julio, 1550. Armourers and Qimmakers. 547 Augsbnrg.—X Camargo por 5 sacabuches (Passauer Schwerte) por il SO esoudos. — Augusta, 20 Ag., 1550. Augsburg. — A C"/maK (Kollmann) armero de Augusta 2,000 escudos de oru ea cuunta de 3,000 que ha de aver por unas armiir que haze pa^a lui sevoais. —Augusta, 22 Oct., 1550. Munich. — A Peter Fall de Munich, 52 esoudos por ciertos Ascabuzer. —Aug., 10 Oct., 1550. Augsburg. — A Besiderio Colman armero de Augusta, 400 due en cuente de loque a de aver por unas ai'mas negras que haze para mi. — ita, 27 Vebr., 1551. Munich. — ^A Peter Pah por quatro carabuzes 41 escudo, 19 Marco, 1551. Munich. — A Maestro Bolfe {BuTff) 250 escudos por unas anu!i» que hace por mi persona 24 mace y 150 mas por ciertas armas que hace pi ir don Antonio de Toledo. Augsburg. — A Maestro Haur (Staur?) de Augusta 50 ducadus por ciertas armus que muado hacery quedavon con U Augusta, 10 de Abiil, 1551. Munich. — A M. Pedro arquebuzea de Minich, 40 escudos por ciertos arquebuzes. — 28 Abr. 1551. Munich. — A M. Pedro Mallero de Munich 114 escudos por ciertos pie^as de Malla. — Aug., 7 Abril, 1551. Munich.— A Maestro Vulff (Bolfe? Bulf?), 225 escudos, 200 por unas armas doradas que ha de bacer y 25 por unas pillar que bin pnr un hameo bianco que havia hecho para mi personio. — Aug., 2 Mavu. 1551. Augsburg. — A Colman, 650 escudos por una armas. — 12 JNIayo, 1551 . Munich. — ^A Pedro de Minicb, 30 escudos por un arcabuz y 20 escudos por los mo90s de Colman de Merced. Another important discovery in the history of original works of art, bearing on the fame of German armourers of this epoch, is that made by the Archivist of Innspruck. M. Schonherr found amongst the records of the capital of the Tyrol proof that : " Joerg Seussenhofer, of Innspruck, master armourer and heraldic engraver of Ferdinand I., had orders to make a magnificent set of harness, which his master intended for Francis I., King of France. Nevertheless, when the present was finished it was not sent, and it was this iden- tical harness which Napoleon I. caused to be removed from the Ambras Collection at Vienna, and sent to Paris, in which city it was received with great state, as belonging to Francis I.* * This suit of armour is at present in the Louvre, where it is thought to be Italian. 548 Armourers and Gunmakers. Two other sets of harness were, however, actually made by this artist, and sent to the sons of Francis I. The groundwork of these harnesses was intended to have been in gold, but not being finished in time, the ornaments were placed on a black ground. Seussenhofer also made. six sets of harness for the court of France, and many suits of armour for the kings of England and of Portugal. Passau and Solingen were celebrated at a very early time for making blades of weapons, the quality of which was as highly esteemed as those of Toledo. Georg Springenklee, a celebrated armourer of the town of Passau, a place famous for its arms as early as the thirteenth century, obtained at the beginning of the fourteenth century, from the Emperor Charles IV., armorial bearings to be used by his township. These arms were two crossed swords. Another very usual mark is a woK,** which is believed to have been granted by the Archduke Albert in 1349 to the armourers' guild of Passau ; it is also to be seen on some of the earlier arms made at Solingen, in which city the armourers Clement Horn and Johann Hopp flourished at the com- mencement of the sixteenth century. Arms were also made in the last-named city as early as the latter half of the twelfth century, when the art was fu-st introduced by Styrian armourers. For a long time Solingen had its stamp-office in the large market-place of the town, where each armourer was obliged to bring his manufactures to be proved and stamped. This custom was, however, suppressed by the French. Damascening and inlaying, which have already been spoken of in the first jsart of this chapter, were carried on in Germany at the end of the Middle Ages, and their process was a much more solid one than that adopted by the Spanish armourers, a fact which can be proved by examining the magnificent suits of armour in the Imperial Arsenal of Vienna. In portable fire-arms, Germany may be said to have no rival. The beautifully-finished " precision " arms of the sixteentli and seventeenth centuries, which are preserved in vai-ious museums and collections, are all of them German, with the * TI]C swords with this maa'k are very much sought after by the in- habitants of the Caucasus. Armourers and Chmmakers. 549 fsception of a few Italian and French productions, remarkable for the beautiful chiselling and carving on them. These latter, however, were intended only for pageants and shows. As early as the sixteenth century the manufacture of fire- arms had spread to such an extent over Germany, that there was not a single town, however small, in which there was not an armourer able to make an arquebuse without the aid of machinery. Valentin, Stephan Klett, and Clauss Eeitz, at Suhl, in the province of Henrteberg, had, as early as 1586, estabhshed two such large manufactories, that they were able to supply Switzerland with 2000 fire-arms of difierent sorts, and 500 precision muskets. We have seen that the rifling of the barrel had been invented in Germany at the end of the fifteenth century, the wheel-lock and snaphaunce in the sixteenth century, as well as the air and the needle- gun in later times. France, which most certainly must have had skilful armourers, has allowed their names to fall into obscurity, for, notwithstanding long researches, I have not been able to trace either the names or monograms of any Fi'ench armourer of an earlier date than the coromencement of the seventeenth century. Nevertheless, Chamblay (Oise) was famous in the Middle Ages for the manufacture of certain coats of mail, which ancient authors wrongly describe as having a double mesh, the fiict being that there does not exist but one kind of mesh, which is more or less close, according to the fancy of the maker. We may mention that the flint-lock, which took the place of the snaphaunce with the sulphurous pyrites, was invented in France at the beginning of the seventeenth century, but it is not known where or by whom. Amongst the modern French armourers must be mentioned the names of Delvigne, Minie, Lepage, Gastine-Eenette, Lefaucheux, and Ghassepot. Amongst the ancient English armour there are some beauti- ful tilting and war helmets called heaumes, which are noticeable on account of their solid make and great thickness of steel. Unfortunately, not a single name of any of the able makers of these helmets has been found, and the monograms are also extremely rare. S50 Armourers and Gunmakers. The same remarks apply to Switzerland and Flanders, though this latter country has held an important place in the manufacture of heavy fire-arms ever since the'inventiou of cannons, and at the present day is renowned for hunting appliances and arms, which are manufactured at Liege. The city of Toula in Eussia distinguished itself by its factories for casting arms in the year 1712. The Hindoos had at a very remote period attained a high reputation, particularly for shields. These were manufaotm-ed at Delhi, being wrought when cold, in two separate pieces for the centre and the rim, and preserve their traditional reputation down to our own days. It is a remarkable fact that the more elaborately the Indian shield was ornamented the less was its value, for the inlaid and damascened flowers served but to hide the de- fects of workmanship. Gwalior and Lushhnr were celebrated for the blades of weapons, Nurwur and Lahore for fire-arms, Nurwur and Shahjehanabad for damascened arms and coats of mail, as well as for the superiority of their ofiensive weapons. In Persia and Hindostan the manufacture of damascened weapons is still continued, and casques, arm-guards, roimd bucklers, breastplates, and mail shirts (many of the latter being of the class termed grains d'orge), are still produced, the shapes of which rival in beauty those of the fifteenth and sixteenth centuries. The principal manufactories of portable fire-arms at the end of the eighteenth oentiu'y were — In Germany, those of Saint Blaisien in the Black Forest, Dantzic (established in 1720), Chemnitz, Essen, Harzberg in Hanover, Klosterdorf, Linz, Olbernhau, Prague, Eemscheid, Sdlingen, Spandau (established in 1720), Suhl, Teschen, and Wiener-Neustadt. In Italy, those of Brescia, Florence, Milan, and Turin. In Spain, those of Esqualada, Oviedo, Plasoencia, Sililos, and Toledo. In Prance, those of Abbeville, Charleville, Saint-Etienne, Maubeuge, and Versailles. In England, those of Birmingham, Sheffield, and London. In Belgium, that of Liege. In Eussia, that of Toula. Armourers' Monofframs and Names. 551 MONOGEAMS, INITIALS, AND NAMES OF AEMO0EEES. MONOGEAMS, INITIAIS, AND NAMES OF GEEMAN AEMOUBERS. Tbebuchet is the name of an armourer in the epic poem of Percival. ScHOYT, son of the above (Willehalm, 356-16). KiNN DE Mdnlecn, another armourer, mentioned in Willehaln; (429-28). Monogram found on the blades of two swords belonging to the fourteenth cen- tury, preserved in the Arsenal of Zurich It is probably the wolf badge, that was used by the ai'mourers of Passau and Solingen toward the end of the thir- teenth century. ■^ Monogram of a German armourer, on a suit of annoiu' in the Ambras Collection, No. 37, said to be of the year 1476. Bodge or mark of the embossers (Taachicre) of Augsburg. IVl . Mark of the beginning of the sixteenth century. Clemest Horn, of Solingen ; this signature occurs on some swords of the sixteenth century in the Museums of Artillery of Paris and Dresden. Cle^iens Hoktjm is the Latin form (or meant as such) of the same name, and it has been found on a two-handed sword in the Museum of Artilleiy at Paris. H . K. Raised letters on a wheel-lock arquebuse with rifled barrel, of the beginning of (he sixteenth centuiy. Museum of Artllleri/, Paris. I AND W. Raised letters on a wheel-lock arquebuse with rifled barrel, of tlie middle of the sixteenth century, in the Museum of Artillery, Paris. M . W. Same as above. F. L. Fr H. V. Z. Zi Same as above. 552 Armourers Monograms and Names. BoEST DER JiJNGE. Name found on a wlieel-lock pistol, dated 1569, in tlie Tower of London. P O V G Raised letters on a wheel -lock with rifled barrel, dated 1590. Museum of Artillery, Paris. Petek Munstek. Name on a sword blade, which has likewise the wolf mark. The name of this armourer, who lived in the sixteenth century, as well as that of his brother, Andkeas Musstbe, Is also found on some swords in the Dresden Museum. The name of Peter Munster exists also on a magnificent sword in the Museum of Sigmaringeu. H with a crown above it is the mark of the renowned armpurer, Plattner, who constructed the armour of Maximilian I., as also the sword of that monarch, both of which are now in the Ambraa Collection. This monogram is not an armourer's. It forms the initials of Maximilian II., and was found on a halbard dated 1566. Museum of Artillery, Paris. w Monogram found on a halbard of German manufacture, of the end of the sixteenth century, bearing the arms of Austria. Museum of Artillery, Paris. SoHONBEKG (J. A. V.) is the name of a celebrated armourer of Munich, wlio lived in the sixteenth century. Many of his works are in the arsenal of that city. AiiBROSirs Gemlioh and Wilhelm Seussenhofee, both of Munich, were armourers of Charles V. (1516 — 1558), and of Ferdinand I. .JoRG Seussenhofee and Kollmann (Helmsehmidt*), Plattner (makers of armour) of Augsburg, lived in the sixteenth century, and ex- ported a great quantity of arms to Spain. Franz Grossohedl, of Landshut, lived about the year 1568 ; to whom the Duke of Bavaria paid 1325 florins for a single cuirass. JIaktin Hofee, of Munich, lived about the year 1678. Anton PrEFFENHArSER, of Augsburg, about 1580. Paul Sohaller, about 1606. ANTONrtf Miller, of Augsburg, about 1592. Paul Visoiier, of Landshut, about 1600. .mjhann Allkjh. iMeves Bebns, of Sohngen. * Makfr of helmets. Armourers' Monograms and Names. 553 Peter Bkook. Clemens Kollek. JoHAXN Ktrsohbaum. Clemens Meizen. JoHANN Mor^i. Heiskich and Petee Patukb. Haks Pkoti, of Meseue. C. Pols. Petes Weesbeeg. The above fifteen armoiu-ers' names are to be found on arms whict are mostly of the sixteenth century, in the Dresden Museum. Bartholomes Haohnek is the name of an armomer which has been found on a wheel-lock arquebuse with rifled barrel, the woodwork of which is inlaid with engraved plaques. X. Mark found on a hunting German arquebuse with wheel-lock, of the end of the sixteenth century. Museum of ArtiUery, Paris, JoHANN Bkoch. Signature found on a sword of the sixteenth century. Museum of ArtiUery, Paris. ryr^ j^n. <~^ JMonngram and initials found on a small FT Y^ /\j >^ German arquebuse of the end of the sis- X, J/ / K /\ teenth century. i \\- . i »- ^^ Museum of Artillery, Paris^, Vg I Monogram of German armourer of the end of the sixteenth Y I century, found on the rack of a cross-bow. ■Vs :^ Same as above. JoHASNES Hopp. Signature found on a glaive, or sword of justice, of th& sixteenth centuiy. Museum of Artillery, Paris. J, P. 1595. On a magnificent German fire-arm in the Erbach Collec- tion. H. C. R. Eaised letters on a wheel-lock arquebuse, with rifled barrel, dated 1600. Museum of Artillery, Paris. 554 Armourers' Monograms and Names. Monogram ;u wheel-lock arquebuse with rifled barrel. German (?) Same as above. 'I'hpse two arms, in the Museum of Artillery, Paris, may very pro- bably not have been German. JOHANN Georg Hoffmann. Signature found on a wheel-lock arquebuse with rifled barrel, in the Museum of Artillery, Paris. Andkeas M. Sigl. Same as above. •Geokg and Andkis Seidel. Same as above. H AND S. Same as above. .JoHANS Hauer, 1612. Signature of an armourer of Nuremberg witli date, found on an engraved suit of nobleman's armour, easily k)iown in the Imperial Arsenal of Vienna by the peculiar back- piece, wliich has been hammered into bosses to suit the unlucky proportions of its patrician wearer. 1V1. H. I. B. Initials found on a German halbard, dated 1613.* Museum of Artillery, Paris. ,J, K. 1629. Initials and date found on a flint-lock gun, in the Erbaeh Collection. Monogram from a German halbard, which also has the /\ arms of the Prince Palatine, Duke of the Deiix-Ponts, A I and the date 1613. / \ N Musetim of A rtillmj, Paris. AxGUSTixrs KoLTER. Signature found on a wheel-loclc arquebuse with rifled barrel, dated 1616. There is a similar signature on another arquebuse of tlie same sort, dated 1621. Museum of Artillery, Paris. H.F. 163S. Found on some fire-arms. JoHANN Keixdt, of Solingen. Signature found on a soldier's sword, belonging to tlie first half of the seventeentli century. Museum of Artillery, Parin. MiEEOviMus t LeGEr. Signature found on a wheel-lock arquebuse with rifled barrel, dated 1632. Museum of Artillery, Paris, * The date appears to me. doubtful, for the flint-lock was not intro- duced into France till about 1640. t Sic in orig. : but qua;re if not a printer's error fr>r Hierouimus 'r— E'ransi.ator's Note. Armourers' 21ouograins and Names. 555 T. A. M. 1650. On a fire-ai-m in the Erbach Collection. H. V. Initials on a German arquebuse with wheel-look, used for hnnting. It is dated 1656. Museum of Artillery, Paris, JoTTiS GsEL Abtzbero. Signature of a German* armourer on i wheel-lock arquebuse. Museum of Artillery, Paris. 3IATHEUS Matl. Signature on an arquebuse with rifled barrel, dated 1661. Museum of Artillery, Paris. IIaxs Heskick Deiler, of Fianklbrt, 1663. On a jfire-arm with ritied barrel, in the Erbach Collection. Oeokg Hoch, 1654. On a fire-arm in the Erbach Collection. T An initial, probably, (if the Emperor Leopold (1660 — 1705), i- on a breach-knile (German). Museum of Artillery, Paris. IL liiLLiAS ZoLLNEK, of Salzburg. On a wheel-lock arquebuse, used for hunting, in the Arsenal of Berlin. ICH. SoiDiEB, of Bamberg, 1685, famous for his arquebuses. Haxs Breiten. Signature on the rifled barrel of an arquebuse datei.l 1666. Museum of Artillery, Pari.-*. Breitexfeldek. On a flro-arm in the Erbach Collection. 'Georg Alt. F. A. Signature on an arquebuse with rifled barrel, dated 1666. Museum of Artillery, Par'". BiETBiOH Veban. Signature on an arquebuse with rifled barrel, date d 1668. Museum of Artillery, Paris. IcH 1'lkich Tilesiann, of Marburg, 1676. Signature found on a flint- lock gun in the Erbacli Collection. JIakius Linck, at Prague, second half of the seveiiteeiitlL century. Tower of London. U. Nic. Markloef, of Hanau, 1680. (Jn a flint-lock gun in tlie Erbach Collection. Tv"iLHEL3i Etch, seventeenth century ; the signature is in the Museum of Artillery, Paris. Jan Saxder, of Hanover. Signatm-e foinid nn a cross-bow, dated 1669. Museum of Artillery, Paris, This man was probably Swiss. 556 Armourers' Monograms and Names. JOHANN Gt'TZTNGEK, 1677. The signatiu'e occurs on both a small and a. large rampart gun, dated 1677. Clement Poetek, of Solingen. The signature occurs on a sword ©f the seventeentli century. Museum of Artillery, Paris. Hans Jacob Stumpf, of Mossbrunn, armourer, engraver, and etcher of icsa. JoHANN Maetin. The signature occurs on an arquebuse with rifled barrel, date 1681. Museum of Artillery, Paris^ Leonhaedies Bieslinger, of Vienna. Signature on an arquebuse with rifled barrel, and serpentine match ; it is dated 16S7. Museum of Artillery, Paris. Dahiel Eck, of Nordlingen. Signature on a wheel-lock arquebuse with rifled barrel, dated 1G68. Museum of Artillery, Paris. H. Maetin Mijlek. Signature on a musket with rifled barrel, of the end of the seventeenth century. Andeeas Pkantnek. Signature on a carbine dated 1675. Tower of London. P, V. 1678. On a harquebuse in the Tower of London. Simon ErEE. or Evee in ]?ilwang(?). Signature on a wheel-lock arque- buse with rifled barrel, dated 1689. H. P. United in a monogram is another mark on the same arquebuse. A. Wasungen, 1G90. On a fiint-lock gun in the Erbach Collection. Heineioh Keimee. Signature of an armoiu'er on a wheel-look aiqae- buse with rWed barrel, dated 1691. Museum of Artillery, Paris. Leon Geoi;g Dax. Sip;rature on a wheel-lock arquebuse with rifled barrel, dated end of tlie seventeenth century. Museum of Artillery, Paris. Baissellmans Schachner, of Innspruck. On a wheel-lock arquebuse with rifled barrel. Museum of Artillery, Paris. Johahn Adam Altee. Signature of armourer on a wheel-lock arque- buse with rifled barrel. Andreas Zaecba, of Salzburg. Signature of armourer on a wheel-lock arquebuse with rifled barrel. Johann Seitel, 170i. On a wheel-lock arqui buse with rifled barrel. Museum of Artillery, Paris. Geoeg Dinckl, of the Upper Tyrol. Signature on a wheel-look arque- buse with rifled barrel. Museum of Artillery, Pnrig. Armourers' Monograms and Names. 507 Joseph Hameel, of Vienna. Signature on a wheel-lock arquebiise with Titled burrel. Museum of Artillery, Paris. T. P. C. D. G. E. B. 1702. Initials fimnd on a flint-lock gun in the Erbaeh Collection. AViLHELM Bkabendek. Signature on a suit of German armour. No. 1% Ibwer of Lmidon, Stanislaus Paczelt. Armourer's name on a fiint-look gun fur the chase, dated 1(38. Tower of London. W. Initial on a German spoutoon of the reign of Charles VI. (1711 — • 1740). Museum of Artlllerij, Paris. Monogram of Charles VI. (1711—1740). Tiiese two monograms occur on a German spontoon ; they are the initials of Marie The'rese and Francois of Lor- raine, who maiTied the Empress in 1738. The last is very similar to that of the Palatine Charles Theodore. Museum of Artillery, Paris. Escutcheon on a German boar-spear used for hunting in the seventeenth century. Museum of Artillery, Paris. WiLFiNG. Signature on a wheel-lock arquebuse of the eighteenth century. Museum of Artillery, Paris, IJaniel Anthoise, of Berlin. Signature on a small German sword belonging to a Prussian officer of the reign of Frederick II. (1740 — 1786). I'TTER, of Warsaw. Signature on a wheel-lock arquebuse with rifled barrel, dated 1759. Museum of Artillery, Paris. I. A. Joseph Geae. The initials and the signature of a German armourer, found on a carbine. Tdesohen-Eeith. Inscription on a carbine. 1 'leioh Wasnee, of Eychstett. Same as above. Habtmann. The name of a German armourer who worked in Am- sterdam. In the Museum of Artillery there is a flint-lock musket by the same maker. r)58 Armourers' Monograms and Names. Rewer, of Dresden. Sigaature on a wlieel-look carbine, dated 1797. Tower of Londi);:, Daniel Heisohaupe, of Ulm, an armouri'r of the middle of the eighteenth oentui-y. He made the flint-lock ciirbine preserved in the Museum of Artillery iu Paris, marked 51. 343. /WALTER. Signature on a flint-lock carbine. EoKART, of Prague. Signature on a flint-lock carbine. Pgeettel, of Dresden. Signature on a iiint-loek carbine. JoHAxs Hereiter, of Salzburg. Signature on a carbine with rifled; barrel in the Museum of Artillery in Paris. liiEGEL, of Zweibriicken, an armourer of the eighteenth century, wliose signature is on a flint-lock gun in the Museum of Artillery, Paris. Andreas Gans, of Augsburg. Signature on a German Inuiting-gun. BI. 1288, Museum of Artillery, Paris. Sr-.AziEHEE, of Prague. SI. ]2S9, Miisenm of Artillery, Parix. I'ICART OURINGEX. M. 1291, Museum of Artillery, Par/.-'. T. W. Peter, of Ottingen. BI. 1292, Museum of Artillery, Paris. I;etel, of Dresden. M. 1294, Museum of Artillery, Paris, and also Erhacli ColleHion. Christian, of Vienna. M. 1297. Museum of Artillery, Paris. F. L. L. I. G. The initials of an armourer of Bayreuth on a German hunting-gun. Museum of Artillery, Paris. Geors Iveisee, of Vienna. Signature in the Museum of Artillery, Paris. Christoi'h .Ioseph Prey, of Munich. Museum of Artillery, Paris. Adam Kulnic, of Munich. Museura of Artillery, Parit IIeinrioh Kapel, of Munich. Museum of Artillery, Paris. Valentin Siegling, of Frankfort-on-the-Main, maker of an air-gun in the eighteenth century. i\[iiseum of Artillery, Paris. Fi. BosiER, of Darmstadt. Museum of Artillery, I'aris. Vrel, of Ooblentz. Museum of Artillery, Paris, S. Geklaoh, of Berlin, Museum of Artillery, Paris. Armo^l/rers' Monograms and Names. 559' S. Gerlach, of Meerholz. Maker of an air-gun. Erbach Collection. JICllek, of Warsaw. Museum of Artillery, Farig. C'oxTBiNEE, of Vienna. Museum of Artillery, Paris. Stephan Stookmar, of Potsdam, died in 1782 ; lie was celebrated for his guns. J. C. Sabs, of Berlin, celebrated for Ms air-guns. C. Z. with half a carriage wheel, is the badge of the manufactory of ZiEGLER at Dresden, in the eighteenth century, famous for sword blades. Valentin Makl, a German ai-mourer, who lived at Copenhagen ; his- signature occurs ou a flint-lock pistol. Mvseum of Artillery, Paris, J. A. KucHENKEiTEE, of Eogensburg. Signature on a flint-lock pistol. This armoui'cr is held in very high repute in Germany. Museum of Artillery, Paris. JoH. AnDKEAS KucHENKEiTER. Ou 3, flint-look gun, eai'ly present century. Museum of Sigmaringen. 1. 1. Behr. Signature on a rampart gun of the eighteenth century. (See page 560). May, of Mauheim. Same as above. Geoks Koint. Same as above. Nock. Signature on a rampart gun, dated 1793. Stiblets. Signature on a rampart gun. C. NuTERiscH, of Vienna, is an armourer of the second half of the eighteenth century, whose signature is on a carbine. Tov:er of London. Q_ E, F, Initials of an armourer on a flint-lock gun in the Erbach Collection. H. T. of Heubach. Erbach Collectioji. J. Belen, Atjgtjste Hoetez, p. G. Guaz, Isidore Soler, N. 0. and P. E. Bis, are all German armourers, whose names and monograms, as they occur on the arms preserved in the Almeria Real of Madrid, have been given by Don Jose Maria Marches! in the table of monograms of armourers who lived at Madrid from 1684 to 1849. Manuel Soler, Martin Mantjel, Samuel Till, and Peedinahi) De7 — names of German armourers collected from the list of armoui'ers who visited Madrid, collected by the same author as above. 560 Armourers^ Monograms and Names. GERMAN ARMOUKBKS OP THE LAST YBAKS OF THE EIGHTEENTH AND BEGINNING OF THE NINETEENTH CENTURY, CELEBRATED FOR FIRE AND AIR-ARMS. Heikkich Albrecht, of Daimstadt. Anschutz, of Sulil. Aegens, of Stuttgiirdt. David Aknth, of Mergontheim. V. Baktholomae, of Potsdan-.. Baumann, of Villingen. Behk, of Wallenstein. buenneok. Bekgstrassek. Bekgh. Calvis, of Spaiidnu. Claus, of Halberstadt. •CoRNELRS Coster. DiNKEL, of Hall. S. DisoK. Eeert, of Sondershausen. ICcHL the elder, younger, and third, of Berlin. EcHii (von der), of Berlin. TjEOpold Eckhaud, of Prague. J. M. Felber (if Riveubberg. Martin Fischer, of Suhl. Chbistoph Wilhelm Fretjnd, of Fiirstcnaii. Oael Fkeund, of Fiirstenau. Fbemmery, of Berlin. Fkiedleh, of Ulm. Erhacli Collection. Erhaeli Collection Erhacli Cnllection. Erhacli Cullectior.. Erhacli CulJection. Erhacli Collection. Erhacli Collection. Erhacli Collection. Erhach Collection. Erhacli Collection. Erhach Collection. Erhach Collection. Erhach Collection. Erhacli Collection. Armourer^ Monograms and Names. 561 J. Georg, of Stuttgardt. .lEAif Gkenet, of Perleberg. GoTTSCiiALCK, of Ballensladt. J. C. GoBGAS, of Ballenstadt. bTACK. Sta ;k, of Vienna. Tanneb, of Cothen. Toll, of Sahl. Ui.EicH, of Ebemdorf. Chebtian Yoigt, of Altburg. J. Jos. Vett. Waas, of Bamberg. Wamtee, of t~iuirbiuck. M. Webtschges, of Willingen. JuAK Zeegh. Zdbich, of Vienna. Pfaff, of Cassel. Pfaff, of Posen. PisrOE, of Scbmalkalden. A. PoTzi, of Carlsbad. PoLZ, of Carlsbad. Peesselmeteb, of Vienna. Qdade, of Vienna. Rasch, of Brunswick. David Eeme. JoH. EisCHEE, of Spandau. C Rexek. J. EoscHEE, of Carlsbad. MANFKrED EbICHEET. ! J. And. Eechold, of Dolp. - ^ ^ PhaaE Saetee, of Lemgo, in Lippe-Detmold. Erbach Volleclion. Erbach Colleetion. El-bach Collection. Erbach Collection aitd Dresden ^luseum. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection. Erbach Collection , 2 o 502 Armourers' Monograms and Names. Geokq Eeck (1769—1782). Erbach Collection, Suhackat;, of Bamberg. ScHEDEL, of Stuttgardt. ScHiRRMANN, of Basewalk. SoHEAMM, of Zelle. Fr. Sohdlze, of Breslau. Si'ALDEOK, of Vienna. Hakz, of Cranacl). Havser, of Wurzburg. Hebek, of Carlsbad. Chkist. Hii:.*ch. Erhach Collection. Jach, of Speier, iiuiker of a double gun witli damasked barrel. Erbach Collection. F. Jaiedtel, of Vioima. Erhacli Collection. Junker, of Grambacli. Erbach Collection J TNG, a German armourer establisbed at Warsaw. Kaufmann. George KAYsiiH, of Vienna. IvEMMEEER, of Tliorn. G. Kalb. \I. H. Kappe. J. C. Klett, of Potsdam. Kkopf, of Salztlial. liEAWiNSKY, of Posen. IvBrGEE, of Piatibor. Kleinschmidt, of Wisterberg. J. Lammerer, of Crauaoh. LiOHTENPELS, of Carlsruhe. Lipi'e (Van der), of iStettin. LiPPEKT, of Cotheu. Marter, of Cologne. Damien Marter, of Bonn. ]\Iathe, of Manheiiu. MijLLEE, of Bernberg. MuLLER, of Steinau. Erbach Collection. Museum of Artillery, Paris. Erbach Collection. ErlMch CollectioH. Erbach Oollectioiu Armourers' Monograms and Names. 563 Navmask, of Gassel. JoH. Neureuter, of Salzburg (a very famous maker). XoEDMAHN, of Berlin. Oktel, of Dresden, established at Amsterdam. M. OiT, of Wiesbaden. Otto, of Brandenburg. MONOGBAMS, INITIALS, AND NAMES OF ITALIAN ARMOtTBBBS. Danielo I)E Castelo Milano, of 147.'5. Name of an armourer in the Dresden Museum, which, in the author's opinion, is wrongly said to be that of a Spaniard. A, Bi ^ ^ monogram of about 1480. B. A. B. ditto- S. ditto. A>iTONio KoMERO, a celebrated armourer of the sixteenth contury. Phildppi Nigboli, of Milan, of about 1522. S. Pi Qi Ri Iiiitials found on a round Italian shield, belonging to the middle of tlie sixteenth century, in the Museum of Artillery, Paris. They are tlie first letters of the words Senatus Populus que Bomanus. Baetolam Biella. Signatm-e on a damascened hunting weapon in tlie Dresden Museum. Johannes db la Orta. Signature on a sword of the middle of the six- teenth century, which has also the arms of the Montmorency family. MtMeum of Artillery, Paris. Johannes de l'Orta. The same signature, though a little varied, found on a weapon in the Dresden Museum, wrongly classed among Spanish arms. Monogram of an Italian armourer of the beginning of the sixteenth century, found on an Italian gisarme in the Soter Collection at Augsburg. It is called the Scorpion mark. AuTONio PicciNiNO. Signature on a rapier marked No. A^, of the be- ginning of the seventeenth century, preserved in tlie Tower ci Loudon. 564 Ao-mourej-s' Monograms and Names. .* * Monogram of armourer on a Venetian sword,* of the clay- more shape, preserved in the Museum of Sigm&ringen. Lazako Lazaeoni, of Venice, lived about 1640 ; he was celebrated for his fire-arras. Aneeea, of Ferrara. Signature on a sword, wrongly called a claymore, of the seventeenth century. No. J. 118, Museum of Artillery, Paris. Ventuba Gani. Signature on an Italian wheel-lock arquebuse, of the beginning of the seventeenth century. Mtiseum of Artillery, Paris. Lazaeino Cominazzi (sometimes Commazzo). Signature of a celebrated , armourer on some pistols in the Sigmaringen Museum. Lazaeino Cominaco. Signature of the same armourer on a wheel-lock arquebuse of the second half of the seventeenth century, and on a gun of the eighteenth century, No. M. 113 and 1285, in the Museum of Artillery, Paris, as weU as on a flint-lock gun in the Erbach Collection. Colombo. Name found on an Italian musket of the seventeenth century. Museum of Artillery, Paris. Matteo Badile. Signatm-e on a pistol, a small musket, and a wheel- lock aiquebuse, of the second half of the seventeenth century ; in the Museum of Artillery, Paris. Geo. Bat. Fkanoino. Signature on a wheel-lock arquebuse, and on a pistol, of the second half of the seventeenth century, in the Museum of Artillery, Paris. A pistol with the same signature is in the Tower of London. Geeonimo Mutto or Motto, of the middle of the eighteenth centmy. BoESELLi, of Kome. Signature on a wheel-lock gun. Labo Zabino, or Lazaeo Lazaeino. Signature on a pistol of the begin- ning of the eighteenth century. Aktonio Bonisolo. Same as above. GloOATANE. Signature on a pistol of the eighteenth century. Baetolomeo Cotel, an armourer of about the year 1740, according to the signature on a gun in the Tower of London. JoHANDT, of Brescia, and Postimbol, of Spezzia, both lived about the latter part of the eighteenth century, and were celebrated for tlieir fire-arms. Cablo CoNTmo. Name of an armourer fotmd on a fiint-lock gun in the Erbach Collection. ♦ These sorts of swords were used by the gnard of the Doges', and were called Schiavona. Armourers' Monograms and Names. 565 MONOGEAMS AND NAMES OF SPANISH ANB POBTTJGtTESE ABMOtTEEEB. C. A. Mora, about 1586, found in the Museam of Dresden. SEBASTEEir Hehnahdez, about J599, found in the Museum of Dresden. Johannes Kucoca, in the Dresden Museum. Mabtinez Detvan, in the Dresden Museum. Juan Tenoinas. The name of an armourer which occurs on the cross- bow of Ferdinand I. in the Spengel Collection at Munich. This weapon was made about the year 1533. Thomas di Ajala. Name of an armourer of the sixteenth century, in raised letters on some arms in the Dresden Museum. With regard to the armourers of Toledo we know the names of the most celebrated, and their stamps, from the second haK of the sixteenth to the eighteenth century, thanks to the work of Don Manuel Kodriguez Palamiao, who has made an exact copy of the records of Ayuntamiento. From this we learn that several of these armourers worked also at Madrid, Cordova, Cuen9a, Catugel, Saint-Clement, Cuella, Badajoz, Seville, Valladolid, Saragossa, Lisbon, Orgoz, and Bilbao, but the principal towns that were celebrated for the manufacture of Spanish arms were Toledo, Saragossa, Seville, and Saint-Clement. Of the 99 monograms the most sought after are the scissors (No. 21), the wolf or the goat (No. 59), and the No. 76, used by Lupus Aguado. The Spanish armourers used often to have their name, as well as their monogram, engraved either on the blade or on the tang. The following are the monograms : 566 Armourers Monograms and JVames. f? [p a ^(^^ h W I'^Ary KTJW © ^ 'YI X [^1 lAJ ^ X m \i fi^ jmingo Maestre, junior. 20. Domingo Rodriguez. 21. Domingo Sanchez Clamade. 22. Domingo, of Aquirre, son of Hortuno. 23. Domingo de Lama. 24. D imiiigo Corrientez, who worked at Toledo and Madi-id. 25. Favian de Zafia. 26. t'l-aucisco Buiz, senior. 27. Francisco Ruiz, junior, brother of Antonio. 28. Frant'isoo Gomez. 29. Francisco de Zamora, "who worlced at Toledo and Seville. 30. Francisco rie Alcoces, who worked at Toledo and Madrid. 31 . Francisco Louidi. 32. Francisco Gordoi. 33. Francisco Perrez. 34. GIraldo Eeliz. 35. Gonzalo Simon. 36. Gil de Alman. 37. Ditto. 38. Hnrtuno de Aquirre, senior. 39. Juan Martin. 40. .Tuan de Leizade, who worked at Toledo and Seville. 41. Juan Martinez, senior, ditto. 42. Juan Martinez, junior, ditto. 43. Juan de Alman. 44. Juan de Tore, son of Pedro Toro. 45. Juan Ruiz. 46. Juan Martus de Garata Zabala, senior. 47. Juan Martinez Menchaca, wlio worked at Toledo and I isbon. ■3 8. Juan Eos, who worked at Toledo and Lisbon, 49. Juan de Salccdo, who worked at Toledo and Yalladolid. 50. Ditto, ditto. 51. Juan de Maladocia. 52. Juan de Vergos. 53. Joaunez de la Horta, who lived about 1545. 54. Joannez de Toledo. 55. Joannez de Alquiviva. 56. Joannez Maleto. 57. Joannez, senior. 58. Joannez Uriza. 59. Julian del Rey, who worked at Toledo and Saragoasa, 60. Julian Garcia, who worked at Toledo and Cuenja. 61. Julian Zamora. 62. Josepe Gomez. Armourers MuHograms and Names. 569 <63. Josepe fie la Hera, senior. CI. Josepe de l;i Heiu, junior. Go. Josepe de l.i Hei-a, grandson. ^Q Josepe de la ileia, gie.it-gr.indson. 07. Josepe de la Herj, sou of Sj-lve»tur. 68. Ygnueio Fernandez, tenim. 69. Yguacio Fernandez, junior. 70. Louis de Eivez. 71. Louis de Ayala. 72. Louis de A'tliuonfe. 73. Louis de ^al.agim the Ist. 74. Louis de baiiagun tlie ii;d. 75. Louis de Xirvu. 76. Lupus Aguado, who worked at Toledo and Sidnt-Clenjeiit. 77. Miguel Cantero. 7S. Miguel Suarez, who worked at 'Toledo and Lisbon. 7;i. Ditto, ditto. SO. Nicolas Hortuno de Aqujrre. 81. Petro de Turo. 82. Petro de Aiecliiga. 53. Petro de Lop.-z, who worked at Toledo and Urgos. 84. Petro de Lopez, who worked at Toledo and Seville. 85. Petro de Lazaretta, who wojke.l at Toledo and LSilLao. 86. Peti'o de Orezco. 87. Petro de Vilmonte. 88. Rogue Hernandez. 89. Sebastian Hernandez, the elder, who lived about 1G37. 90. Sebastian Hernandez, the younger, who worked at Toledo ami Seville. 91. Silvestre Nieto. ii2. Silvestre Xieto, the sen. 93. Thomas Ayala, who lived about 1625 (a fine sword by this ar- mourer is in the Slunich Arsenal). 54. Zamorano, surnamed El Toledauo. 95 to 99. Five monograms belonging to some armourers of Toledo whose names are unknown. 570 ~"ESJ , ^^T^J^ Armourers Monograms and Names. JLO PE2 ii^ i Marks and monograms of armourers who lived at Madrid, from 1684 to 1849. A list of these was published in 1849 by Don Jose Maria Marchesi, in bis " Catalogo de la Eeal y^rmeria;" tbey belong to the followiiig German and Spanish, ai'mourers : Armourers' Monograms and Names. 571 .\iBAKEZ (DiEG.) Algoka. )!aeza (M. a.) Cano (I. P.) DORCENAKRO (S. V.) KeKXAN'DEZ (I. U.) (rOJIEZ (A.) Lopez (F. E. C.) Lopez (G. E. E.) Santos (S. E. V.) Soto (Juan de). Targakona. Zegarea. ZiLOAGA, and some others, as Acguste Hobtez, Isidore Soler, J. Beles. N. O. and E. E. N. Bis, German armourers established at Madrid. irATHEO (on a sword). Daniel de. Com. (on a dagger). Leon (on a dagger). ■loAN DE OiPE me fecit (on a crfi»^-bow). JoHAN, ditto. Salado (on a flre-arra). These six names of urmoui-ers are mentioned' by the same author, and all of them oecur on arms in the same armoury, but with no indication of epoch or nationality. Aporicio (A.) Baezina (J.) Cantero (Mancel). Dez (Febdinand), German. ESCELANTE (BaSILIO). Fernandez (P.) Lopez (Balens). (Feauoisco). (Jose). (JrAN). Mabtht, German. Martinez. Matheo (Hilario). MoNTOEEES (Carlos). Xataeeo (Antonio). Kajiikez (P.) Kodrigue (Carl). Santos (Z.) ,572 Armourers' Monograms and Names. SoLEH (Mandel), German. Til (M. S.), German. These twenty-one names of armonrers are to be found in the list of names and monograms in Marehesi's hoot, where they are described as having worked for a short time at Madrid ; no date is mentioned, but they have all been found on arms which are in the Museum of Madrid. •With regard to the marks and monograms which have rbeen collected at random from swords, daggers, lances, hal- bards, bucklers, etc., in the " Armeria Eeal," and published by M. Marches!, without any notes respecting the time of their manufacture or nationality, I have not thought it necessary to speak of them here, as they could be of no historic use. Baktolah Bieli.a is the name of an armouier on a fowling-piece of the sixteenth centru'y in the Museum of Dresden. JSastian Ak-mando. Be Peduo de Belmonte, armourer of the king. HiSPANGO. C!. A. MoKA (1586). i''KANCisoo, Antonio, and Fueuekico Picino are armourers of Toledo of the sixteenth century ; their names occur in the Museum of Dresden, but they are neither in the records of Ayuntamieuto. published by Manuel Rodriguez Palamino, nor in the catalogue of M. Marchesi. Armourer's mark found on a suit of Spanish armom' richly inlaid with gold, of the sixteenth century, in the Ar- senal of Vienna. Alonzo de Schagon, of the end of the sixteenth ceutury, wag also, according to Jager, one of the most celebrated armourers of Toledo ; his name has been omitted in the list of records. .JiAN and Clement Pedronsteva. EuDAL Pons and Martin Mahohal were celebrated at Toledo about the last years of the eighteenth century. Camo. Name of armourer on a sword of the seventeenth century, in the Museum of Artillery, Paris. Thomas Haiala. Id. Sahagom. Id. cXd and V. Monogram and initial on a Spanish partizan of the beginning of the seventeenth century. Museum of Artillery, Paris. Armourers' Monograms and Names. 573 Lasinto LArMANXiKEU, of Mamesa; he worked about the year 1739, according to the signature on a revolver in the Tower of London. G. MoEiNO, a Spanish armourer -who signed and dated (1745) a gun now in the Tower of London. MOKOGRAMS AND KAMES OP FEBJTCH ABMOUEEES. 7? Monogram fovmd on a suit of French (?) armour of the reign of Louis Xm. (1610—1643), in the IMuseiim of ArtDlery, Paris. It is marked in three places. V^ ^ Monogram found on a hatchet with jiammer and long handle, a weapon which appears to be Burgundian. — ^ *— CoUection of Colonel Meyer-Biermaan at Lucerne. "C^^^ Monogram found on a sword of the reign of Louis XIV. KC/1 (1643-1715). J. 133, in the Museum of Artillery, J C) L Paris. Claude Thomas, of Spinal, 1623. On pistols in the Erbach Collection. D. Ju^rEAu. Signature on a wheel-lock aiquebuse of the first half of the seventeenth century. Museum of Artillery, Paris. Akbois, probably the name of the town of Ai-bois, found on a cuirass of the sixteenth century. Jean Sdionix, of Lunevdle. Xame found on an arquebuse with wheel- lock, dated 1627. Gabkiel. Name of an armourer of the seventeenth centui'y, on a pistol in the Museum of Artillery, Paris. PlEBEE Baeot, who died at Paris in 1780, was tlie inventor of an ingenious four-barrelled flint-lock gun, which is in the Arsenal of Berlin. PiEBEE Beviek, a watch-movcment maker and armourer of the begin- ning of the seventeenth centitty, invented a double pistol-lock of peculiar character, in the Museum of Artillery, Paris. BoriLLET frferes, of Saint-Etienne, were armourers in the reign of Louia XV. (1715 — 1774), celebrated for their air-guns. De Thuraine, of Paris, made a flint-lock carbine in the time of Louis XV. (1715—1774).' Bbezol-Laine, of Charleville. Name of armourer found on a blunder- buss in the Museum of Artillery, Paris. MABOHAir, of Grenoble, armoiuer of the eighteenth century, maker of a flint-lock gun in the Museum of Artillery, Paris. 574 Armourers' Monograms and Names. IPhilippe le Seller, armourer of (he eigliteeutli century, and juaker of two flint-lock guns preserved in the Museum of Artillery, Paris. There is another in the Erbach Collection. H. Eeniek, of Paris, maker of flint-look pistols of the eighteenth ce:i- tury. 'liiouviLLE, of Paris. Id. Lame, of Me'zieres, mater of flint-lock gun in the Erbach CoUeotion. •Chateau, of Paris Id. ISouTET, armourer of Marseilles, end of tlie eighteenth century . Fkappiee, of Paris. On a pistol in the Museum of Artillery, Paris. Acqdis-Gkain. Lamaree. Name on a pistol with flint-look, in the Museum of Artilleiy, Paris. ,Jeax Dubois, of Sedan. Name of an armoui'er on a pistol. Hubert, of Bordeaux. Signature of an armourer found on a lar^'e rampart gun, brought from the citadel of Blaye. Museum of ArtiUenj, Paris. -UlVERDE, HiLPEET aud EueeksbtjeCt, of Strasburg, were armourers celebrated for their tire-arms in Ihe latter part of the eighteentli century. Vincent. On a flint-lock gun in the Erbach Collection. ..Tean Geiottiek, maker of a double-barrelled gun in the Erbarli Collection. ,Jban Eeniee, armourer of the middle of the eighteenth century, wliose name is engraved on a pistol in the Museum of Artillery in Paris. ■Gustave Delvigne, who since 1S26 has been continually improving un rifled barrels so that the ball need not be hammered witli a mallet. . JuLiEN Lekoy, Gastine Eenatte, and Lefauoheux, are other armourers celebrated for their breech-loading guns. In addition, MM. Egbert Manoeaux and Viellaed, and last of all M. Chassepot, are names well-known in the army for their improvements in fire-arms. MONOGRAMS, INITIALS, AND NAMES OF ENGLISH AEMOUIIEUS. Eadoo, an armourer of the end of the sixteenth century, whoso name is known on account of a payment which was made to him by tlie chamberlain of the city of Norwich, as compensation for clianging the wheel-lock on a pistol for a snaphaunce. H. Maetin Mulee is the name of an armourer on a musket witli rifled bari'el, the stock of which is ornamented with tlie arms of Englam 1 andother inlaid work. It is probably of tlie reign of James II. (1685—1689). Museum of Artillfry, Farif. Armourers' Monograms and Names. 57: A. witli a crown, is the mark of the companj- of armourers of Loudon of the reign of George I. (ITl-t — 1727). A. R. Tliese initials are on two rampart guns of the years 1739 and 1740, in the Tower of London. Stephen, of London, an armourer of the end of tlie eighteentli century, wliose name is on a nhtcl-lock j;nn, as well as on an air-guu, pre- served in the Museum of Artillery, Palis. X. Thomson, born in England, and established at Rotterdam, about the end of the eighteenth century, celebrated for his fire-arms. Bate, an ai-mourer whose name is engraved on the supposed look of an air-gun iu the Museum of Artillery, Paris. FoHSYTH, a Scotch armourer, who invented in 1807 the percussion or piston gun. Joseph Egg, an English armourer, who was inventor of the percussion cap. MONOGRAMS AND NAMES OF SWISS AEMOUEEKS. ^ t yj ^^^''^ found on a Swiss halbard of the fifteenth century, iu 3U '""'"^ ^■""" the Author's Collection. Mark found on a Swiss halbard of the sixteenth century, iu the Author's Collection. Mark found on a partizan, probably of the beginning of the sixteenth century, in the Collection of Colonel Meyer- Biermann at Lucerne. Same description as for preceding one. Zell Blasi, 1614. Signature on a serpentine in the Arsenal of Bale. Wys, of Zurich, -who died in 1788, was celebi'ated for his fii-e-arms. Btk.\hgle and Michel, father and son, who lived in the last years the eighteenth century, were celebrated for their fire-arms. 576 Armourers' Monograms and Names. Feoekee, ofWiuteithur, and Htjsbaum, of Berne, were celebrated at the end of the eighteenth century for their tire-arms. VlTT, of Schaffhauscn. On a fire-arm with rifled barrel, in the Erbach Collection. Pauly, of Geneva, "S'ho invented about fh" year 1808 a percussion-gun which differed frum that of Forsyth, and which was a breech- loader. MONOGEAMS AND NAMES OF FLEMISH AND DUTCH AHMOUEEES. Jacobus van Oppy, of Antwer]]. Signature on a rampart gun of the middle of the seventemth century, in the Tower of London. Johannes Wyndd. Found on an infantry sword of the seventeenth century, which has the badge of tlie fiare. J. 103, Museum of ArtiUery, Varis. Cloede Hiquet, of Liege. Signature on a flint-lock gun and on a pistol of the end of the seventecntli century, in the Museum of Artillery, Paris. Gathy, of Liege. Signature found on a pistol with flint-look, of the eighteenth century, in the Museum of Artillery, Paris. L. GostiNi, of Liiige. Signature on a musket. Le Clekk, of Maestricht. Erhacli Collection. Van Walsen, of Maestricht. Id. MiOHAEius, of Breda, on a flint-lock gun. Id. Tendermann, of Utrecht, on a flint-lock. Id. Mbeoier, of Lifege, on a double-barrelled damasked musket. Id. Fachtek, of Liege, celebrated for his air-guns. Facka Spegee is the name of a Dutch armourer, occurring on an air- gun of the eighteenth century, the air-chamber of which is in the butt. Museum of Artillery, Paris. MONOGEAMS, INITIALS, MAEKS, AND NAMES OF AKMOUBEES AND OF TOWNS "WHICH HAVE BEEN FOUND ON OEIENTAL ABMS. On a large number of Christian and Turkish arms taken from , 530, 536, 580. Signum, 125. Six Collection, 181. Size of men in the Middle Ages, 45. Skirted armour, 211. Skull cap, 267, 268, 269. SHng and staff sling, 466. Small buckler, 166, 179, 182, 189, 288, 291. Snafae, 366. Snaphaunce, 10. Soter Collection, 256, 325, 3-17, 37S, 407. 449, 472. Solerets, 48, 49, 231, 337 to 341. Soleure, Arsenal of, 15, 270, 273, 283, 326, 427, 431, 504. Sollen Collection, 124. Soltikoff Collection, 409, 418. Span, 529. Spandau, 550. Spanish arms, 173, 188, 214, 292, 348, 384, 393, 449, 542. armourers, 565 to 573. Spears, boar, 418, 419. 2 ft 594 Index. Spengel Collection, 260, 266, S77, 534. Spontoons, 451. Spurs, 342 to 349. Squamata, 29, 118. Stiletto, 401,409, 412. Stirrups, 361 to 368. Strap of buckler, 113. Strasburs, Arsenal of, 12. Stuttgard, Library of, 163, 160, 167, 443. Sureoat, 181. Sweden, see Collection of King Charles XV. Swiss Arsenals, 15. armoui-ers, .57.'>, 576. glaive, 428. Swords, 369 to 399. - — two-handed, 418, 419. S word-breaker, 27, 104, 411. Szokau, Museum of, 442. Tail guard for horses, 353. Tang (of a sword), 369. Targes, 294 to 298, 300, 301, 302. Tassets, 228, 229. Terzerole, 71. Ternow Collection, 534. Tesehen, 550. Tlieodosian Column, 122, 159, 423. Tilting heaumes, 254, 255. Toledo, 550. Tombs, construction of, 22, 13S. Tormentum, 455. Tortoise, 31, 116. Touarique arms, 397. Toucii-hole, 71 . Touch-box, 535. Troyon Collection, 431. Turin, Armeria of, 13, 108, 110, 273, 298, 302. Turin, 550. Turkish arms, 392, 393, 441. —— drums, 455. Tyrolose bolts, 4S3. Tzagra, 473. Tzarskoe Selo, Museum of, 15, 283, 284, 285, 391, 413, 440. Umbrians, 109. "Valencia, 542. Valladolid, 542. Vamplate of lance. 235, 236. Vannes, Museum of, 82. Vauban, 71, 448. Vauquelin, 72. Velites, 29, 117. Venice, Museum oi^ 15. sculptures at, 192. Versailles, carbine of, 69. manufacture of arms at, 550. Veuglaire, 61. Vienna, Imperial arsenal o^ 10, 61, 73, 199, 201, 202, 206, 208, 209, 210, 212, 213, 215, 220, 221, 222, 228, 235, 255, 269, 270, 275, 279, 298, 323, 324, 332, 351, 380, 389, 399, 407, 423, 427, 429, 444, 454, 489. Arsenal of the city of, 269, 409, 445. Cabinet of Antiquities at, 82, 109, 125, 129, 131, 132, 149, 153. Imperial Library at, 186. Industrial Museum of, 270 271, 275, 379, 387, 436. Gewehrkammer of, 478. Museum of the Belvedere at, 103. Vigna Ammandola, 32, 135. Villaseca Collection, 384. Volant piece, 237, 238. Voulge, 433. Waffenrook, or surox)at, 179, 181. Wagnuk, 402, 413. Waldburg-Wolfegg, Library of Prince, 457, 498. War engines, 50, 54, 55, 126, 455 to 465. hammers, 435, 436, 437. hats, 263 to 269. Weapons in flint, 75 to 84. obsidian, 84. Wiener Neustadt, 550. Winglets, 43, 238. Wolf mark, 548. Index. 595 Wooden swords, 84. Yataghan, 394, 395. Zanguebar sword, 396, 397. Zend language, 25. Zurich, Arsenal of, 66, 266 322 383, 416, 431, 442, 483, 504. Museum of Antiquities at, 83, 150, 155, 157, 463. LONDON ; PEIKTEO BT WJI. CLOWES AX0 SONS, LIUITBD, STAMFOKD STREET AND CHARING CROSS. AN ALPHABETICAL LIST OF BOOKS CONTAINED IN BOHN'S LIBRARIES. Detailed Catalogue, arranged according to tlie various Libraries, will be sent on application. ADDISON'S Works. 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