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Field Armor, from a Garniture, probably made for Ludwig Ungnad von Weissenwolf auf Sunegg (c.1525–1584)
Field Armor, from a Garniture, probably made for Ludwig Ungnad von Weissenwolf auf Sunegg (c.1525–1584)
Image © Worcester Art Museum, all rights reserved.

Field Armor, from a Garniture, probably made for Ludwig Ungnad von Weissenwolf auf Sunegg (c.1525–1584)

Artist (German, Augsburg, 1513–1579)
Artist (Southern Germany, Augsburg, about 1525 – 1603)
Dateabout 1552
Mediumsteel with embossed, etched, blackened and gilded decoration, with modern brass, velvet, leather and restorations
Dimensionsweight: 46 lb. 10.5 oz.
ClassificationsArms and Armor
MarkingsAll major components are internally marked with HAM accession number in black on a white field. Both vambraces have the inner end of the couter mainlame and that above marked with a single v-shaped nick. The left vambrace (only) has the inner ends of the laminations at the bend of the arm marked with small v-shaped nicks- 1 in each of the seven lowest lames and 5 in each of the 12th through 17th.
Credit LineThe John Woodman Higgins Armory Collection
Object number2014.74
DescriptionConsists of helmet (combining elements from a close helmet and burgonet), cuirass with tassets, cuisses with detachable poleyns, greaves, pauldrons (R restored), vambraces, gauntlets. No collar or sabatons. Each element is described separately in its own record.

The motifs on the helmet are found throughout the rest of the armor. The primary bands, at the base of the comb and on either side of the skill, edge of the fall, and the bevor and buffe medial line (including gorget plates front and rear), consist of a recessed blackened and stippled band between a set of narrow bright fillets, filled by etched ascendent candelabrum decoration, musical and martial trophies. These bands are framed by repeated embossed semi-circles (save buffe lames which are only etched), each with a divergent foliate tendril motif on a gilded and stippled ground. Each of the semi-circles is framed by a thin blackened etched line. The secondary bands are of three forms: 1) those at the turned edge of the gorget plates are blackened and stippled in a shallow recessed band that is filled with running vine tendrils extending outwards from the medial line, interspersed with martial and musical trophies, and some grotesque dolphin motifs; 2) the fall edges, top plate of buffe below the turn, and upper and side edges of bevor have candelabrum work on a gilded, stippled group; 3) the facial opening of the skull and bevor is bordered by a shallow recessed gilded stippled band with gilded vine tendrils and martial trophies.

Much of the etching throughout has been refreshed, though that of the left greave frontplate 2014.13 appears to be original.
Label TextThis armor comes from a “garniture,” a suit with multiple exchange pieces that could be traded in and out for different uses. This particular configuration is for a medium cavalryman. The flexible thigh-pieces allow easier motion, the armor on the lower leg is open on the inside for better contact with the horse, and the face-guard can be lowered or even removed for improved vision. The garniture also included pieces for heavy and light cavalry, jousting, and tournament combat on foot.ProvenanceEx collection, the Duke of Altenburg (Schloss Altenburg, Thuringia, Germany) Prince Schwarzburg-Sondershausen (per Stephen V. Grancsay in the Armory's 1961 catalogue, this armor was inherited from the Sachsen-Altenburg line by the Schwarzburg-Sondershauser in or after 1869) Clarence H. Mackay (Harbor Hill, Roslyn, L.I., NY). Purchased by Museum on April 1, 1940 from Jacques Seligmann & Co. (NYC), agents for the estate of Clarence H. Mackay, their no. A-20-110. Collection transfer from Higgins Armory, January 2014.
On View
On view