Right Vambrace
Artistdecorative motives attributed to
Étienne Delaune
(German, about 1519–1583)
Culture
French
Dateearly 1600s
Mediumsteel with traces of gilding and leather
DimensionsMeasurements with Pauldron: 66 × 22 × 26 cm (26 × 8 11/16 × 10 1/4 in.), 4 lb,10 oz (weight)
ClassificationsArms and Armor
Credit LineThe John Woodman Higgins Armory Collection
Object number2014.70.6
DescriptionThe arm defenses are not related to the cuirass except in the general similarities of design and decorative motives. The border at the cuffs, elbow-openings, couters and pauldron edges has a simple etched intertwined guilloche. The pauldrons with vambraces are symmetrical. The pauldrons are rounded, consisting of a main lame with three lames above and four lames below, all overlapping away from the mainplate. All articulate on a triple set of internal leathers, and rivets near the terminals. The edges of the mainplate and the laminations above have been cut back and re-turned and roped with the borders rivet filled; the pauldrons would then have been of the deep form found on a number of French armors of the period (such as G.93 in Paris; A. 1697 at the Waffensammlung, Vienna; another at Warsaw, ex-Carl of Prussia, Berlin Zeughaus). The topmost lame has an associated, re-located buckle and a rectangular slot for the leather strap from the cuirass, as the collar is lacking. The edges of the pauldron lames have empty holes at those points where they have been cut back. There is a lead plug at the top of the left pauldron, and an old patch on the outside of the L elbow plate. There is a new patch inside the edge of the elbow plate, and another on the upper cannon.
The lowest lame is riveted to the turner of the vambrace upper cannon which is modeled with a prominent, plain race. The arched opening at the bend of the arm is finished with an inwardly-turned, roped edge and a guilloche border with thin etched line.
The couters (the right is restored) are of the closed-bracelet form, with prominent lobes on the outer face which is also embossed with a raised roped transverse rib extending from the pucker, over the fact to the point of the elbow. At just beyond mid-length on the left is an oblong riveted patch. This is the original location of the articulating rivets which have been relocated. The rolled edge and broad, shallow sunken guilloched band are "en suite" with the vambrace cannons. The cowters have no articulating lames above or below; these may have been lost at some point.
The lower cannons are of slightly "tulip" shape, of two hinged halves, secured on the outer face by a hole snapping over a peg. The cuff is cut slight angularly, and finished as above, with the sunken band being rivet filled.
The decoration of the arms is near-identical. The left main lame is embossed at the point of the shoulder with what is probably Mercury receiving the golden apple of discord from Eris. (This is similar on the right, but appears to be Paris with Aphrodite). The figures are within voluted strapwork framing emanating from a grotesque mask, and terminated in cornucopiae. The plates are further decorated with trophies, female caryatids (perhaps Fame), snails, and dolphins on the lames below. Near the front, the pauldrons display standing, winged female figures grasping foliate stalks, and a similar, wingless figure on the rear (perhaps Demeter?). Seated on the strapwork framing below is Fame or Calliope on the front, with Justice on the rear. The positioning of these figures is reversed on the right pauldron. There are also crane-like birds, vegetation and snails.
On the upper cannon of the vambrace are addorsed dolphins (representing the duality of nature) and reclining single figures beneath a baldachin (on the left is Flora(?) resting on a flowing overturned vase and holding a cone-shaped basket; on the right is what seems to be Oeneus the river-god, father of the wife of Paris.) These figures are flanked by vase-like foliate swellings and winged half-centaur/half-reptilian figures blowing coiled trumpets. There are also all of the other fauna previously shown, plus addorsed sphinxes.
On the couter faces are Clio or Calliope and Justice facing one another, within cornucopiae framing, and strapwork, grotesqueries, draped-masks.
The lower cannons have on the hinged face a classically-armed warrior viewed from the rear, holding floral bunches amidst Mannerist strapwork, foliate tendrils, cornucopiae and a putto head and wings below. The left rearplate has a reclining female with a dog, cow and sheep (perhaps Diana after the hunt?) within the strapwork framework. The same scene on the right defense is similar, but has the female with a large arrow or spear defending a cow being attacked by a lion. These are also face to face putti with urns to either side of the voluted framework projecting from the mask. Winged caryatids to either side of this support vase-like cornucopiae and foliage.
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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