Paper Example on European Art

Introduction

Art has been part of society's culture since time in memorial always changing and being redefined according to the newly embraced ideology. Craftsmanship in war and war instruments may be overlooked as works of art and considered more of tools of necessity but history reveals a time when even the instruments of war had the input of highly skilled craftsmen both for function and aesthetic purposes. Today pieces of these war instruments have been kept and are displayed magnificently showcasing the art, skill and mastery work put into forming them. The Chicago Art Gallery houses one such piece of art, the Half Armor, and Targe for Service on Foot, c. 1600

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The armor has its origin in Milan, Italy and though the artist is unknown it belongs to an era or period of art patronage. The ancient armorer was an artist within the pale of great painters and sculptors; Duer Holbein and Cellini to mention but a few names, designed and made armor (Grancsay 277). However, unlike other pieces of art or painting armors were not made to be mounted on manikin but on a proud athlete (Grancsay 277). The armorer had to understand the human anatomy and be able to picture the steps and movements of the wearer. By anatomical research, the armorers gained exact knowledge of every movement of the human figure and built the armor to make it comfortable said Grancsay(278). The armorer learned by long experimentation to make effective plate armor (Larson 54)

However, at the time of making of this specific armor in 1600 c, there was a shift in the inspiration of armor forging. In the second half of the sixteenth century began a period of decadence. Though not so effective the armor of that period is admired for its ingenuity of forging skill and the variety of design and decoration which it represents. Its distinguishing feature is subservience of design to the style of the pageant costume of the time (Larson54 ). In this particular armor, we see embellishment with interlace, trophies fabulous beasts and etched medallions that enclose classical figures reminiscent of Roman heroes.

The armor industry was generally carried on in small units near the demand. The cheaper equipment was apparently made close to the buyer. The knight's armor was generally made by the local armor smith as was surely that of the ordinary foot soldier. It was different with the members of the upper hierarchy of leadership; they engaged famous armor makers to make their armor regardless of distance or expense (Larson 58) Therefore a highly skilled armorer most likely had a patron to whom sold their skill and merchandise. For the Half Armor and Targe for Service on Foot armor, no patron is known although the armor is described as elegant and as an unusually fine armor with marching targe for ceremonial parades. The probability would be that is was made for nobility such as generals or dukes who may purchase such elegant armor for great ostentation and public spectacle during participation in a parade or tournament.

In Italy, around that time the aforementioned taste for armor all'antica reached its artistic peak with works from the famous Italian workshop of Filliop Negroli of Milan. Parade armor of this fashion was produced for the most illustrious clientele of European nobility, exquisitely embossed with figural and floral decoration and often etched and gilded or damascened and encrusted with gold and silver (Breiding 1)

One could wonder why such artistic prowess would be displayed on an instrument of war were maybe no one would bother to notice as they are engrossed in the bid for conquest or need to survive. Knowing that the piece in the discussion was more for a ceremonial function then it would not be void of glamor and luster. The armor has its etched bands embellished with interlace, trophies, fabulous beasts and etched medallions that enclose classical figures reminiscent of Roman heroes At the Metropolitan Museum while on a tour of Negroli and associates parade armors Fred Stern quotes the assistant curator describing the parade armors as armor "all .antica" (harnesses of steel decorated in high relief in the ancient style inspired by Roman models in form and ornament.) This was designed to invoke the mythic heroes from the past- Alexander the Great, Julius Caesar, Scipio Africanus, Aeneas and Hercules ( Stern 1 )

Royal armor in the Renaissance was far more than protective equipment for the battlefield. Most often worn at court and ceremonies and in parades pageants and jousting tournaments it proclaimed the rulers strength and power. Much more costly than portraits by the leading painters of the day suits of royal armor are dazzling works of wearable sculpture that affirm their owners right to govern ( Helmschmid 1)

The functionality of the armor was then highly dependant on the craftsmanship of the armorer. War armor had to protect its wearer and also be comfortable and give the wearer freedom of movement to execute their moves. Steel as compared to iron was more preferable. The Half Armor and Targe for Service on Foot appears to be a suit made for a ceremonial function. Thus the possibility of it being worn to parades and tournaments as described. But also nobility developed and patronized with pride their home armories. They could hire famous armorers to come take orders from their courts for armor and even execute special orders (Larson 58). Those who would then come visiting in their courts would then be indulged into a tour of viewing spectacular armors specially made for them.

The Half Armour and Targe for Service on Foot is made of steel with gliding, brass and leather etched and gilded. The armor seemed to be made of forged plates of steel of different shapes and thickness joined together with leather straps or thongs and fastened together into an articulated suit. On the steel plates of the breastplates, pauldrons, tassets, and the matching targe there are etched bands which still radiate with their original glided surface contrasting effectively with the adjacent areas left blackened by the forging process. The breastplate and tassets also follow the lines of the garments over which they would have been worn which probably would also be embroidered or woven with golden strands on white or crimson to portray a royal and distinguished appearance.

The given posture of the armor indicates the armorer having a picture with a knights extraordinary lithe grace, standing at a parade soaking in glory rather than in a position to execute defense or offensive move. This is shown especially with the lowered position of the targe whereby it is not protecting the body it should be on a battlefield where it is held in a position to protect the chest. Therefore the wearer could probably be standing guard. But a closer look also reveals the probable flexibility, for example, the ready hand that seems could be rested on a sword handle could indicate ease of movement when called for within the armor as it has joints held by leather straps. The open-faced helmet could be the armorer's idea of the best-suited helmet for the ceremonial suit as it allows the face of the wearer to be seen, unlike battle helmets that would hide the wearers face.

The armor is skillfully embellished and also studded with brass adding extra detail to the design. There is evidence of direct influence of civilian costume to the armor starting with the embellishments made on the armor like the medallion enclosing classical Roman hero figures. It is hard not to notice that these armor costumes were meant to or must have inspired at both military and civic presentations. The structure of the helmet forming an apex a the top which could be a tassel base a costume accessory that would decorate the armor more for a celebratory appearance.

The design of the armor reveals a sophisticated yet elegant design. The armor stands at 86.4cm in height and 34in in diameter. The targe measures 54.2 cm (21 5/16 inches). These specifications reflect more of a Nuremberg workmanship with specified lines of height, has slenderness and grace of outline. It is exceedingly knightly in character and can be used amount or afoot. The contrast between the silver like steel luster and the sparkle of gilded gold and boldness of brass create a sophisticated yet elegant look on the armor.

Gleaming from the metals would definitely provide a look of great ostentation or the impression intended that was of paramount importance for public spectacles or the ceremonies that they dressed up for. The armor does give a full coverage of the upper torso of the wearer.

In this time, some parade suits of armor were made with the puffed and slashed sleeves of the renaissance court costume; they were decorated with perforations, engravings and embossings(glided silvered or oxidized and they were even inlaid with gold and set with jewels. At this stage, artists designing decoration, goldsmiths, and jewelers were brought into the workshop. Their influence on the battle and tilting armor was decent for decoration destroyed the glancing surface and also interfered with the play of articulated plates. ( Larson 54). Embossing was the armorer's method of creating raised metal designs on the metal surface by hammering out the designs from the underside of the plate then defining the relief on the outside through the uses of chisels and punches. This inevitably stretched and weakened the metal so it was mostly just worn on ceremonial occasions.(Stern )

Also at this particular period, there was another change taking place, the improvement of firearms. The weight of the armor had to be increased to make it bulletproof. With time it became too heavy to be endured by the man and the horse. This reduced the suits from full body armor to three quarters to half and by 1700 little armor was worn except for jousting.

What more could be inspiring for an army to see their general in a gleaming shining suit reflecting the sunrays in an open arena or on a cliff at a battleground, figures of their gods and medals shinning of the armor reminding them of past or current victories and enhancing the deity appearance of their leader. Moreover, morale was of tremendous importance and nothing so disorganized morale as the fall of the leader. Since the fate of an army might depend on how well equipped was its leader, it was essential that the leader has the best arms and armor possible. On the men of the ranks, even inferior armor undoubtedly had a psychological effect that in itself was of considerable importance. Having this in mind it meant that the armies had to be well armored and the leaders well equipped for effectiveness regardless of cost thus this commanded high design and craftsmanship.

The forging of armor became more and more specialized and the quality of design and craftsmanship also became wanting, therefore, pieces that would be produced at such a time exhibited exemplary creativity and refined workmanship.

Conclusion

Arms and armor have continued to prove that they are indeed part of the art of any era or age and as the significance of such historic pieces continue to be uncovered and displayed the armory history continues being narrated and hopefully getting others to invest in studying them just like other artifacts. All in all the art of forging steel has proven to have been a beauty in its time bringing appreciation to its beauty of form, design or inventive genius and the Half Armor and Targe for Service on Foot is no exception which is highly priced as a piece for its artistic beauty as any other form of art expression.

References

Breiding, Dirk H. "Fashion in European Armor, 1500-1600." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-.

Historical So...