SHORT BIOGRAPHIES OF NOTABLE ARMOURERS

This celebrated engraver was the son of Hans Burgmair or Burgkmair. There is some confusion between the father and son, but the former seems to have worked either as a maker or a decorator of armour. The family were neighbours of the famous Colmans, the armourers, who lived in the Lange Schmiede gasse, while the Burgmairs had a house close by in Mauerburg. In 1526 Coloman Colman left his house to live with Hans Burgmair the elder, while Hans the younger took Colman’s house. The two families seem to have been on most intimate terms. S. Quirin. Leitner considered that the bard of A, 149, Madrid, which represents the labours of Hercules and Samson, was designed by Burgmair, and Wendelin Boeheim[143] also inclined to this view. His principal works were the Triumph of Maximilian and the illustrations of the Weisz Künig, both of which show such endless varieties of armour and weapons that we cannot but feel that the artist must have had a very practical knowledge of the craft of the armourer.

It would enlarge the present work beyond its original scope if mention were made of all the artists who designed armour and weapons, for in all ages the painter and sculptor have been employed in this direction. It will be sufficient to note that designs of this nature are to be found in the sketch-books of Donatello, Giulio Romano, Holbein, Leonardo da Vinci, Benvenuto Cellini, and Albert Dürer. Reproductions of two drawings by the latter are given on Plate XXXI.

Camelio was born either at Venice or Vincenza. He was a fine engraver and medallist, and is considered by Nägler to have invented the process of striking coins and medals from steel dies. He was especially noted for light steel armour of high temper. He was granted a patent or concession for the sole working of his invention by the Senate of Venice from 1509 for five years.

Campi was born at Pesaro, but the exact date of his birth is unknown. He was a goldsmith, and engraver and maker of arms and armour of such merit that they elicited the highest praise from Pedro Aretino in his letters from Venice to Bartolomeo Egnazio in 1545. About this date he made a magnificent pageant suit of pseudo-Roman armour for Guidobaldo II, Duke of Urbino, who presented it to Charles V. The cuirass is superbly modelled on the human torse and is decorated with a Medusa’s head and bands of gold with silver flowers. The shoulder-pieces are of blackened steel in the form of masks with golden eyes, and the lambrequins hanging from the cuirass end in medallions and masks. The helmet is decorated with a crown of golden leaves. On the cuirass is the inscription: “BARTOLOMEVS CAMPI AVRIFEX TOTIVS OPERIS ARTIFEX QVOD ANNO INTEGRO INDIGEBAT PRINCIPIS SVI NVTVI OBTEMPERANS GEMINATO PERFECIT.” If this inscription is not an exaggeration, it is little short of miraculous that this suit should have been made in one year. It is now at Madrid (A, 188). In 1547 Campi directed the fêtes held in honour of the marriage of Guidobaldo II and Vittoria Farnese at Pesaro. He was military engineer to the Republic of Siena, to that of Venice, and to the King of France between the years 1554 and 1560. He assisted the Duc de Guise at the siege of Calais in 1562, and in 1568 served with the Duke of Alba in Flanders, where he was given a commission as chief engineer of fortifications at a salary of 500 escudi. The Duke, writing to the King on June 3, 1569, says: “I tell your Majesty that you have a good man in Captain B. Campi, because in truth he is a soldier and has art, although not so well founded as Pachote ... and he is the best man I have met with since I have known men—I do not say only engineers, but men of any sort—very happy and steady in his work.” Campi was killed by an arquebus shot at the siege of Haarlem on March 7th, 1573, to the great grief of the Duke and the whole army. His brother was an armourer about 1555, but we have no records of his work. The magnificent specimen of Bartolomeo’s work at Madrid is the only example of his craft as an armourer that has come down to us (Plate XIV).

Coloman was the son of Lorenz, and with the rest of his family took the craft-name of Helmschmied, a fact which makes investigations of records, documents, etc., of some difficulty. This is especially the case with Coloman, whose name is spelt sometimes with a “C” and sometimes with a “K.” The first mention of Coloman in civic documents is in 1507. In 1512 we find him working for Charles V, and shortly after he entered the service of Maximilian I. In 1516 a silver suit of armour (steel plated with silver) was ordered from him by Maximilian, but in 1519 this suit seems still to have been unfinished, probably owing to lack of payments, a reason which was and is always being advanced by craftsmen of all kinds for work delayed at this period. He employed the two Burgmairs, father and son, to decorate his armour.

Although Charles V frequently urged him to come to Spain, his numerous commissions at home prevented him. He seems to have been prosperous in 1525, for he bought the “Schmied haus in the Karoline strasse” from the widow of Thomas Burgmair. Two portrait medals were struck for him in 1518, 1532. His clientele extended to Italy, and in 1511 he wrote a letter to the Marchesa Francesco di Mantua describing a project for completely arming a horse with laminated and jointed defences of plate covering head, body, and legs. A picture in the Zeughaus at Vienna shows Harnischmeister Albrecht riding a horse armed in this fashion, and a portion of the leg-piece of such a suit is preserved in the Musée Porte de Hal, Brussels (see page 9).

The following works bear Coloman Colman’s mark or are known from documentary evidence to be from his hand: Vienna, 175. Wallace Collection, 402. Madrid, A, 19; A, 37–42; A, 59; A, 93–107 (Tonlet suit “The Chase”); A, 108–11; E, 57; E, 59. Dresden, G, 15.

Desiderius was the son of Coloman Colman. In 1532 he took over the workshops in the Mauerburg at Augsburg, which his father had shared with the Burgmair family. He worked at first with the armourer Lutzenberger, who married the stepmother of Desiderius in 1545. In 1550 he became a member of the City Council, and in 1556 he was made Court Armourer to Charles V. This title was afterwards confirmed by Maximilian II. Desiderius seems to have used the same mark as his father, hence there is some confusion between the two craftsmen. The suits known to be by him are at Madrid, A, 157, 158, 239, 142—the splendid parade suit made for Philip II, which is signed and dated 1550, and the richly embossed and chased round shield A, 241, which is also signed and dated 15 April, 1552. It is upon this shield that he recorded his rivalry with the Negrolis (Plate XXIV, Fig. 65, also page 16).

The elder Frauenpreis or Frauenbreis was a pupil of the Colman family (q.v.), and in 1529 married the widow of a helm-smith. He is first heard of as an independent workman in 1530. The following works are ascribed to him or his son:—

His grandfather was a bell-founder of Nuremberg, who made the bells for the church of S. Sebald in 1396. In 1465, after his father’s death, Hans built a large house and workshop, after much litigation with the city over his glazing or polishing mills. In 1480 he owned many houses in Nuremberg, and built the “Pilatus” house near the Thiergartner-Thor, close to the house of Albert Dürer. He worked for the Emperor Maximilian I, and was the most serious rival of the Missaglia family of Milan, who at this time were the most celebrated armourers of Europe. The mark No. 54 is ascribed by Boeheim to Grünewalt. Works bearing this mark are to be found in the Waffensammlung, Vienna, 66, 995.

Hopfer was in the first instance a painter, a designer and maker of stained glass, and an engraver. He settled in Augsburg in 1495. According to Heller he died in 1549, but this is not borne out by the entries in the account books of Maximilian II, who employed him and his brother. In the Hofzahlantsbuch, under the date 1566, it is stated that Daniel and his brother George, both of Augsburg, were ordered by Maximilian II to make 110 new helmets for the Trabantengarde and to decorate them with engraving. Four were made in March as samples, and the remainder were to be delivered in July at a cost of 397 gulden 42 kreutzer. Much of the work of the brothers Hopfer consisted in decorating armour made by other masters, of whom Coloman Colman was the chief. In Madrid are several examples of the work of Daniel: A, 26 and 65 are horse-armours which are decorated in Hopfer’s style, and A, 27, 57 are jousting-shields which are certainly from his hand; the latter is signed and dated 1536.

In 1544 Conrad, or Kuntz as he is sometimes called, was Hofplatner to Maximilian II with a retaining fee of 14 florins 10 kronen, and in 1547 Maximilian gave him a settled yearly pension. He must have given up his appointment in 1551, for we find Hans Siefert Court Armourer in this year. He was born at Nuremberg in 1510, where his father followed the trade of an armourer, and had two brothers who worked with him, but the names of the Lochners do not often appear in the royal accounts. Like most of his craft, he was frequently in money difficulties, and had great trouble in collecting his debts from the King of Poland. His works are found at Berlin, 116, a horse-armour; Paris, G, 166, 182, 565, 566; Madrid, A, 243; Dresden, E, 5 and G, 165; Vienna, 334. He frequently used tritons and sea-monsters as a motif for his decorations.

In 1494 the Merate brothers were sent for by Maximilian I and did work for him personally. They also obtained a contract for three years, for which they received 1000 francs and 1000 gulden, under which they pledged themselves to set up a forge, workshops, and mill at Arbois, in Burgundy. Gabrielle was also to receive 100 francs a year and to be free of taxes, an advantage frequently granted to master-armourers. For this he had to deliver annually fifty suits stamped with his mark, each suit costing 40 francs, and one hundred helmets at 10 francs each, one hundred pair of grandgardes at 5 francs, and one hundred pair of garde-bras at 40 francs the pair.

The enumeration of the last two items in pairs is unusual, as they were defences only worn on the left shoulder and arm and would not be sold in pairs. At the same time we should remember that the terms used for different portions of the suit are often confused, and a word which now has a certain definite meaning in collections was often used in a totally different sense. The Merates were bound by this contract to work only for the Emperor. Their stamp is generally supposed to be a crown and the word “Arbois,” but it is uncertain as to what actual specimens now in existence are by their hands. Possibly the “Burgundian Bard” (II, 3) in the Tower was made by them. It bears a crescent and the letter “M,” and is decorated with the cross ragule and the flint and steel, the Burgundian badges which were brought to Maximilian by his wife, Mary of Burgundy. Their names are mentioned in the list of tax-payers in the parish of S. Maria Beltrade, the church of the Sword-smiths’ Gild, at Milan under the date 1524–9, and they are also mentioned in a letter from Maximilian to Ludovico il Moro in 1495 as excellent armourers. They took their name from the village of Merate, which is near Missaglia, a township which was the birthplace of the famous Missaglia family.

Work stamped with the word “Arbois” and the crown is found at Vienna, 917, 948, and the “M” with the crescent is marked on the bard of A, 3 at Madrid, on II, 3 and II, 5, Tower of London.

The family name of Thomaso and his descendants was Negroni, as is proved by a tombstone formerly in the church of San Satiro at Milan on which the two names appear. They came from the township of Missalia, near Ello, on the lake of Como. Petrajolo, the father of Thomaso, was also an armourer, and worked about the year 1390, but we have little knowledge of his history. The house occupied by the Missaglias was in the Via degli Spadari, Milan, and was decorated with the family badges and monograms (Fig. 66). It was demolished in 1901 in the course of street improvements, but was first carefully drawn and described by Sigs. Gelli and Morretti in their monograph on the Milanese armourers. The heavy work of the armourers was carried out at a mill near the Porta Romana, for which the Missaglias paid a rent of one sallad a year to the Duke of Milan. Thomaso da Missaglia was ennobled in 1435 by Philip Maria Visconti and was made free of taxes in 1450. There are many records of commissions to him and of taxes and other municipal matters connected with the family in the Archives of Milan. He died in 1469 and was buried in the church of S. Maria Beltrade, Milan. The only known work by this master is No. 2 in the Vienna Collection (Plate XXX). Baron de Cosson[144] has pointed out the strong resemblance between this suit, the effigy of Richard Beauchamp, Earl of Warwick, in S. Mary’s Church, Warwick, and the picture of S. George by Mantegna in the Accademia, Venice.

Antonio was the son of Thomaso Missaglia, and was one of the foremost of the Milanese armourers. As has been noticed in the Introduction, the style of armour which was evolved by him and his father seems to have been adopted by German craftsmen. There are numerous records of payments and letters connected with Antonio in the Archives of Milan from the year 1450 onwards. He worked for Galeazzo Maria Visconti and for Bona di Savoia and after the death of the former became Ducal Armourer. In 1456 he made armour for the Papal troops, and about this time he enlarged the workshops of the family in the Via degli Spadari. In 1469 the Duke of Milan gave him a mill near the S. Angelo Canal. In 1470 he received a lease of iron-mines near the forest of Canzo, near the Lago del Segrino, from the Ducal Chamber, and in 1472, in recognition of his services to the State, he was allowed to purchase the property.

The last entry in the Milanese Archives relating to Antonio refers to his mines and furnaces in a letter to Bona di Savoia, April 20th, 1480. In the MSS. Lib., Trivulziano, is a report of the Venetian Embassy which came to Milan on its way to Germany, written by Andrea de Francesca. This report states that Antonio’s workshops were visited and armour was seen there to the value of 1000 ducats. He seems to have had a son Scabrino, but there are no records of him as an armourer. Antonio died at the end of the fifteenth century and is the last of the family who used the name of Missaglia. His successors reverted to the family name of Negroni or Negroli. The suit No. 3 in the Vienna Collection is stamped with his mark (Plate II), and many helmets of the sallad type and various pieces of armour bear a similar stamp in other armouries, such as the Wallace Collection, the Porte de Hal, Brussels, etc. etc. The close helmet on the “Tonlet suit” in the Tower, II, 29 (Plate X), is engraved with the Collar of the Garter and bears the Missaglia stamp, and a suit in the Musée d’Artillerie, G, 3, bears the same mark.

Mola is the only armourer whom we can identify as having worked in Rome. He was born about the year 1590 at Breglio, where his father was an architect. He came to Milan at an early age and worked there as a goldsmith. In 1607 he made various objects in gold and silver for the Duke of Savoy. In the same year he was summoned by Duke Ferdinand de Medici to Florence, where he worked for two years. In the years 1613–14 he produced medals for Mantua and Guastalla, and about the same time he executed work for Carlo Emmanuele I of Savoy. He committed suicide in 1640. Though we have no data for the theory, it seems not unlikely that it was the studio of Mola which Breughel has represented in his picture of Venus at the Forge of Vulcan. The ruins in the background certainly suggest some of the buildings in Rome, which might have been used for this purpose. There are also many medals and examples of goldsmith’s work shown on this picture in addition to the armour.

He was an expert in enamel-work and made richly decorated pistols, and in 1642 produced a fine helmet and shield which are now in the Bargello Museum, Florence.

Philippo and Jacomo Negroli were sons of Bernardino who worked in Rome. It is uncertain whether their father still kept the name of Missaglia, which was used by Antonio and Thomaso Negroni. The earliest known work by these masters is dated 1532. For some years they were assisted by their brother Francesco, who left them about this date and worked alone for the Mantuan Court. Brantome and Vasari both mention Philip as being a craftsman of very high repute. His armour was always very costly, and Brantome states that a morion made by him would cost 40 thalers and that in sixteen years he had amassed 50,000 thalers. He seems to have been ennobled, for Brantome calls him Seigneur de Negroli. He had a house in the Porta Comassina, the wealthy quarter of Milan. His work is always ornate, but does not transgress the craft-laws to such an extent as did the armour of Peffenhauser and Piccinino (Plate XXIX). Work by the Negrolis is to be found as follows: In Madrid, A, 139–46; D, 13, 30, 64. Vienna, 330. Paris, G, 7, 10, 178.

We have no details of the life of this craftsman beyond the dates of his birth and death. He is best known as the maker of elaborately decorated armour. The suit made for King Sebastian of Portugal (Madrid, A, 290) is one of the most ornate suits in existence (Plate XIV, also p. 75). His works are found as follows: Madrid, A, 290. Dresden, C, 10, 13, 15a, 20; D, 11; E, 6a, 10; G, 146. Vienna, 489, 490.

Lucio was the son of Antonio Piccinino, the famous sword-smith. It is uncertain whether he actually produced armour himself or whether he was solely concerned with the decoration. Like Peffenhauser he delighted in lavish display of ornament without any consideration to its fitness for armour. His work is extraordinarily minute and the technical skill displayed is extreme. His work is only to be found at Madrid, A, 291–4, and at Vienna, 543.

The son of a noted craftsman, Pompeo was one of the foremost armourers in the latter years of the sixteenth century. He was Court Armourer to Philip III of Spain, and to the Archduke of Milan, Alessandro Farnese. His work is found in the Armeria Reale, Turin, C, 21, 70; in Vienna, 858, 859.

The brothers Conrad and Hans at different periods filled the position of Court Armourer to Maximilian I. Conrad was born between the years 1450 and 1460. He was cousin to Treytz, who produced the Weisz Künig, that chronicle of the doings and artistic endeavours of the young Maximilian which, while it is amusing in its sycophantic adulation of the Emperor is, at the same time, an invaluable record of the operations of the applied arts of the period and of costumes and armour then in fashion.

Much of the raw material was drawn from Styria, and was exported in such large quantities to England that the supply was in danger of running short; so a monopoly was established and exportation forbidden. This naturally raised the price, and was one of the many causes which combined to keep up a ceaseless friction between Maximilian, his Diet, and his armourers.

Seusenhofer favoured elaborate ornament on his armour, and this did not please the officials who were responsible for the equipment of the army. He was urged to produce plainer and more serviceable work, a suggestion which Maximilian with his love of pageantry ignored. In 1511 we find Seusenhofer complaining that Kügler, the mine-master, was sending him inferior metal, and as he considered that the use of it would be detrimental to the reputation of Innsbruck as a factory of armour, he suggested that it should be classed as Milanese. In 1511 the famous “Engraved Suit,” now in the Tower of London, was put in hand as a present from Maximilian to Henry VIII.

From the State Archives of Innsbruck (Jahrbuch II, reg. 1028) we find that two cuirasses were ready for the King of England, one gilded. There were apparently five others to be made, one of which was to be silvered. This was probably the suit above mentioned.

The whole of the suit is covered with fine engraving representing the stories of S. George and S. Barbara, with foliage and heraldic badges. The designs have been engraved and a detailed description given by Sir S. Meyrick in Archæologia, XXII.

The horse-armour is not by the same hand, for the engraving is coarser. It may have been executed in England by German craftsmen to match the rider’s armour (see Plates X, XII, Fig. 67).

There were ceaseless troubles over the payment and delivery of work from the royal workshop. Sometimes Seusenhofer would retain work for which the Emperor had pressing need till payment was made, and on one occasion, when speedy delivery was not made, Maximilian ordered the armourers to be placed in the forefront of the battle, with no armour on, to show them what inconvenience their delay was causing! It is needless to say that the armour was delivered at once. So obsessed with the idea of his omniscience was the Emperor that when, in the Weisz Künig, Seusenhofer suggests some secret method of working the metal, he replies: “Arm me according to my own wishes, for it is I and not you who will take part in the tournament.” Again, Maximilian writes: “If you have forgotten the art which I have taught you let me know and I will instruct you again.”

The date of Conrad’s death is unknown, but it was, as far as can be ascertained, about the year 1517.

He was succeeded as Court Armourer by his younger brother Hans, and he in turn gave place to his nephew Jorg, who produced the suits which exist at the present day in Paris, G, 41, 117; Vienna, 283, 407. The only authentic work of Conrad is in the Tower of London, II, 5.

We have but little information respecting Topf, in spite of the minute researches of the late Dr. Wendelin Boeheim. From civic records at Innsbruck he appears to have been one of three brothers. David, the youngest, was in service with Archduke Ferdinand at Ambras and died in 1594. In 1575 we find Jacob working for the Archduke at Innsbruck. Boeheim discovered in his investigations that Topf was absent from Germany between the years 1562 and 1575 and was probably employed in Italy, England, and elsewhere. There are no records of his employment in England except in a letter written by Sir Henry Lee in 1590, where mention is made of “Master Jacobe,”[145] who is now considered to be Topf. We have, however, a most valuable record of work which was in all probability his in the Almain Armourer’s Album, now in the Art Library of the Victoria and Albert Museum.

This book consists of large drawings in ink and water-colour (17 in. by 11½ in.), thirty-one in number, which show twenty-nine suits of armour with details of extra pieces for the joust.

On No. 14 is the signature: “These Tilte peces made by me Jacobe,” but the name Topf does not occur in the Album.

In the year 1790 the book was in the possession of the Duchess of Portland, at which time Pennant engraved the second suit of Robert Dudley, Earl of Leicester, for his History of London. Strutt also engraved the suit of George, Earl of Cumberland, in his Dresses and Costumes (II, Plate CVLI). The library of the Duchess of Portland was sold in 1799 and the Album disappeared till the year 1894, when it passed into the Spitzer Collection. At the Spitzer sale it was bought by M. Stein, of Paris, and on the advice and through the personal efforts of Viscount Dillon, the present Curator of the Tower Armouries, it was acquired for the nation.

Several of the drawings have been carefully reproduced by Mr. Griggs in a book, edited by Viscount Dillon, under the title of An Almain Armourer’s Album, and it is by the courtesy of the editor and publisher that the accompanying illustrations are reproduced in the present work.

The following list gives the complete series of plates in the Album and shows which of the suits illustrated in the original are now in existence.

There is also a suit at Vienna (491), made for Archduke Carl of Steiermark, which Boeheim considered to be from Topf’s hands.

Fuller details of the above suits will be found in the reproduction of the Album above referred to, and also in Arch. Journ., LI, 113.