Ceremonial Breastplate

Artistdecorative motives attributed to Étienne Delaune (German, about 1519–1583)

Culture French

Date1580s, modified early 1600s

Mediumiron with restored leather and velvet

Dimensions43 × 38 × 16 cm (16 15/16 × 14 15/16 × 6 5/16 in.), 3 lb, 4 oz (weight)

ClassificationsArms and Armor

Credit LineThe John Woodman Higgins Armory Collection

Terms

Object number2014.70.1

DescriptionThe cuirass is not related to the other components. The breastplate was originally of the deep, 'peascod' shape popular in the 1590s (cf. to lot 58 in the Hever Castle sale at Sotheby's London rooms in 1983). It appears that it and the backplate were cut down to the present short, slightly dipped form during the first half of the seventeenth century. The breastplate is now rather slab-sided, with inwardly turned, roped edges at the neck and armpits without gussets, and a low medial ridge that dips slightly below the present waistline. The waist and shoulders are fitted with modern leather straps which engage the buckles on the backplate (empty holes at the shoulder indicate earlier locator holes). The modification of the waist-fastening has resulted in the loss of the original pivot-hook and pierced-lug undoubtedly once fitted.

The breastplate is of relatively light steel. It is angularly cut off at the waist, and fitted with a riveted waist-flange of two halves. Above the inwardly turned, roped edge these are each fitted with a restored turning-pin at mid-length. This engages a corresponding, transverse slot cut in the topmost lame of each tasset. The flange has large repairs in the middle where the two halves meet; there is also a row of disused holes across its top edge, indicating a different prior structure.

Inside the breastplate are the remains of early lining-leathers riveted to the neck- and armholes, and to the bottom edge of the flange. The close-spaced rivets suggest that this is a 17c alteration; the remains of the leathers could be this old.

The edges of the cuirass are bordered with an intertwined, double-incised pair of undulating addorsed thin lines. The resultant spaces are filled with quatrefoil decoration. The whole is framed within another set of bands, of which the innermost is itself incised. The breastplate is embossed overall with classical figures and Mannerist decoration on a circularly-punched, gilded ground. The central motif consists of Mars and Venus with Cupid with weapons at their feet, within an addorsed, crescentic strapwork frame, emanating from a grotesque mask below, and finished above in voluted cornucopiae terminals. Above their heads are what appeared to be doves facing one another, alluding to peaceful intent on the part of warring states. In the crescents are reclining figures of Concordia or Fame with her attributes, amidst groups of trophies. Below the strapwork, to either side are putti bearing fronds, classically-armed warriors blowing draped trumpets, vegetation and cornucopiae in a symmetrical, Mannerist fashion. Above the central motif, centered between the top edge is a triangular grouping of two face-to-face putti grasping a laurel crown (symbolic of victory), above which is a third figure who runs with flowers in either hand. To either side is a stag, symbolic of prudence. These face one another, are draped at their mid-sections, and have hindquarters which terminate in volutes and upon each of which is a seated putto. Centered above the running putto, between this and the upper edge is an owl in flight (prophetic bird of Athene, as goddess of wisdom).
ProvenancePrince Peter Soltykoff (Paris) Hollingworth Magniac (London) Duveen Brothers (NY) Clarence H. Mackay (Roslyn, L.I.). Purchased by the Armory on 27 July 1939 from Christie, Manson and Woods (London) at the Clarence Mackay sale, lot 58. Collection transfer from Higgins Armory, January 2014.

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