Armour & Weapons
Forfatter: Charles Ffoulkes
År: 1909
Forlag: At The Clarendon Press
Sted: Oxford
Sider: 112
UDK: 623 Ffou
With A Preface By Viscount Dillon, V.P.S.A. Curator Of The Tower Armouries
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74
PLATE ARMOUR
CHAP. IV
suit are generally of unequal size ; that for the right arm being
smaller, to admit of the couching of the lance under the armpit
(Fig. 34). The tassets are made in two or more pieces, connected
with the strap and sliding rivet described in the preceding chapter.
The fluting on the Maximilian armour is not without practical pur-
pose, for, besides presenting the ‘ glancing ’ surface, which has been
before referred to, it gives increased strength and rigidity without
much extra weight. A modern example of this is to be found in the
corrugated iron used for roofing, which will stand far greater
pressure than will the same thickness of metal used flat.
It is at this period of the history of defensive armour that we
first find traces of that decadence which later on permeated every
art and craft with its pernicious poison. It is to be found in the
imitating of fabrics and also of the human face in metal. There
exist suits of plate in many museums, both in England and on the
Continent, in which the puffings and slashings of the civilian attire
are closely copied in embossed metal, entirely destroying the
important glancing surfaces on which we have laid such stress. It
is alleged that this fashion in civilian dress was intended to suggest,
by the cutting of the material to show an undergarment beneath,
that the wearer was a fighting man who had seen rough service.
If this be the case it is the more reprehensible that metal should
be treated in a similar manner ; for hard usage would dent, but
it would not tear. A portion of one of these debased suits is drawn
on Fig. 42.
It must not be supposed that all armour at this period was
fluted. There was still a good deal which had a plain surface,
and this plain armour continued to be used after the Maximilian
armour had been given up. It may have been that the evil
genius of the Renaissance pointed to the plain surfaces as ex-
cellent fields for the skill of the decorator, a field which the
strongly-marked flutings of the Maximilian armour could not
offer. At first this decoration was confined to engraved borders,
or, if the design covered the whole suit, it was so lightly engraved
that the smooth surface was in no way impaired, though perhaps