,_Third_Earl_of_Cumberland_MET_DP295743.jpg/1500px-Armor_Garniture_of_George_Clifford_(1558–1605),_Third_Earl_of_Cumberland_MET_DP295743.jpg)
Community hub
Recent from talks
Knowledge base stats:
Talk channels stats:
Members stats:
Greenwich armour
Greenwich armour is the plate armour in a distinctively English style produced by the Royal Almain Armoury founded by Henry VIII in 1511 in Greenwich near London, which continued until the English Civil War. The armoury was formed by imported master armourers hired by Henry VIII, initially including some from Italy and Flanders, as well as the Germans who dominated during most of the 16th century. The most notable head armourer of the Greenwich workshop was Jacob Halder, who was master workman of the armoury from 1576 to 1607. This was the peak period of the armoury's production and it coincided with the elaborately gilded and sometimes coloured decorated styles of late Tudor England.
As the use of full plate in actual combat had declined by the late 16th century, the Greenwich armours were primarily created not for battle but for the tournament. Jousting was a favourite pastime of Henry VIII (at dire cost to his health), and his daughter Elizabeth I made her Accession Day tilts a highlight of the court's calendar, focused on hyperbolic declarations of loyalty and devotion in the style of contemporary verse epics. Even late in her reign, courtiers gained favour by participating and dressing the part.
The workshop produced bespoke armour for the nobility; relatively mass-produced government orders for the military mainly went elsewhere. The book of Greenwich armour designs for 24 different gentlemen, known as the "Jacob Album" after its creator, includes many of the most important figures of the Elizabethan court. In this period a distinctive Greenwich style developed, marked by imitating aspects of fashionable clothing styles, and extensive use of gilded and coloured areas, using complex decoration in Northern Mannerist styles.
By the mid-17th century, plate armour had adopted a stark and utilitarian form favoring thickness and protection (from the ever-more-powerful firearms which were redefining battle) over aesthetics and was generally only used by heavy cavalry; afterwards, it was to disappear more or less completely. Therefore, the Greenwich workshop represented the last flourishing of decorative armour-making in England, and comprises a unique genre of late-Renaissance art in its own right.
Although there were certainly English armourers at work before 1511, indeed they had their own guild in London, it seems that they were both unable to cope with large volume orders, and not able to produce work of the finest quality, and in the latest styles, found in Europe. A payment to Milanese armourers at Greenwich, of £6 2/3 and two hogsheads of wine, was made in July 1511; they were under contract for two years from March 1511, and other payments record the setting-up of a mill and the purchase of tools. Greenwich Palace was still an important royal residence, birthplace of both Henry and his two daughters. By 1515, there were six German master armourers, with (perhaps working separately from) two apparently Flemish masters, two polishers and an apprentice, all working under the English King's Armourer, John Blewbury, and a "Clerk of the Stable". All were given damask livery clothes.
In 1516, the workshop moved closer to London (but still outside the city itself, where guild regulation might have been an issue) to a mill in Southwark, while construction of a new mill at Greenwich began. On completion of this in 1520 they returned to Greenwich.
The first Greenwich harnesses, created under Henry VIII, were typically of uniform colouration, either gilded or silvered all over and then etched with intricate motifs, often designed by Hans Holbein. The lines of these armours were typically not much different from Northern German designs of the same time period; the decorations, though, were often more extravagant. A good example of this early sort of Greenwich style is the harness which is thought to have belonged to Galiot de Genouillac, Constable of France, but was initially created for King Henry. The armour, currently on display at the Metropolitan Museum of Art in New York, has a specially designed corset built into the cuirass to support the weight of the burly king's large stomach. This harness also has very wide sabatons in the Maximilian style. Very similar in design, but ungilded, is another tournament harness made for Henry VIII which now resides at the Tower of London and which is famous for its large codpiece.
After the reign of Henry VIII, the Greenwich armour began to evolve into a different and unique style. There were several defining characteristics of this second wave of armour. One was the mimicking of popular fashions of the time in the styles of the armour to reflect the individual wearer's taste in civilian clothing. From 1560 cuirasses were designed to imitate the curving "peascod" style of doublet which was immensely popular among gentlemen during the reign of Elizabeth. This type of cuirass curved outwards in front at a steep angle which culminated at the groin, where it tapered into a small horn-like protrusion. All-over gilding or silvering was replaced by strips of blued or gilded steel, typically running horizontally across the pauldrons at the edge of each lame, and vertically down the cuirass and tassets, which emulated the strips of colourful embroidered cloth that were popular in civilian fashion.
Hub AI
Greenwich armour AI simulator
(@Greenwich armour_simulator)
Greenwich armour
Greenwich armour is the plate armour in a distinctively English style produced by the Royal Almain Armoury founded by Henry VIII in 1511 in Greenwich near London, which continued until the English Civil War. The armoury was formed by imported master armourers hired by Henry VIII, initially including some from Italy and Flanders, as well as the Germans who dominated during most of the 16th century. The most notable head armourer of the Greenwich workshop was Jacob Halder, who was master workman of the armoury from 1576 to 1607. This was the peak period of the armoury's production and it coincided with the elaborately gilded and sometimes coloured decorated styles of late Tudor England.
As the use of full plate in actual combat had declined by the late 16th century, the Greenwich armours were primarily created not for battle but for the tournament. Jousting was a favourite pastime of Henry VIII (at dire cost to his health), and his daughter Elizabeth I made her Accession Day tilts a highlight of the court's calendar, focused on hyperbolic declarations of loyalty and devotion in the style of contemporary verse epics. Even late in her reign, courtiers gained favour by participating and dressing the part.
The workshop produced bespoke armour for the nobility; relatively mass-produced government orders for the military mainly went elsewhere. The book of Greenwich armour designs for 24 different gentlemen, known as the "Jacob Album" after its creator, includes many of the most important figures of the Elizabethan court. In this period a distinctive Greenwich style developed, marked by imitating aspects of fashionable clothing styles, and extensive use of gilded and coloured areas, using complex decoration in Northern Mannerist styles.
By the mid-17th century, plate armour had adopted a stark and utilitarian form favoring thickness and protection (from the ever-more-powerful firearms which were redefining battle) over aesthetics and was generally only used by heavy cavalry; afterwards, it was to disappear more or less completely. Therefore, the Greenwich workshop represented the last flourishing of decorative armour-making in England, and comprises a unique genre of late-Renaissance art in its own right.
Although there were certainly English armourers at work before 1511, indeed they had their own guild in London, it seems that they were both unable to cope with large volume orders, and not able to produce work of the finest quality, and in the latest styles, found in Europe. A payment to Milanese armourers at Greenwich, of £6 2/3 and two hogsheads of wine, was made in July 1511; they were under contract for two years from March 1511, and other payments record the setting-up of a mill and the purchase of tools. Greenwich Palace was still an important royal residence, birthplace of both Henry and his two daughters. By 1515, there were six German master armourers, with (perhaps working separately from) two apparently Flemish masters, two polishers and an apprentice, all working under the English King's Armourer, John Blewbury, and a "Clerk of the Stable". All were given damask livery clothes.
In 1516, the workshop moved closer to London (but still outside the city itself, where guild regulation might have been an issue) to a mill in Southwark, while construction of a new mill at Greenwich began. On completion of this in 1520 they returned to Greenwich.
The first Greenwich harnesses, created under Henry VIII, were typically of uniform colouration, either gilded or silvered all over and then etched with intricate motifs, often designed by Hans Holbein. The lines of these armours were typically not much different from Northern German designs of the same time period; the decorations, though, were often more extravagant. A good example of this early sort of Greenwich style is the harness which is thought to have belonged to Galiot de Genouillac, Constable of France, but was initially created for King Henry. The armour, currently on display at the Metropolitan Museum of Art in New York, has a specially designed corset built into the cuirass to support the weight of the burly king's large stomach. This harness also has very wide sabatons in the Maximilian style. Very similar in design, but ungilded, is another tournament harness made for Henry VIII which now resides at the Tower of London and which is famous for its large codpiece.
After the reign of Henry VIII, the Greenwich armour began to evolve into a different and unique style. There were several defining characteristics of this second wave of armour. One was the mimicking of popular fashions of the time in the styles of the armour to reflect the individual wearer's taste in civilian clothing. From 1560 cuirasses were designed to imitate the curving "peascod" style of doublet which was immensely popular among gentlemen during the reign of Elizabeth. This type of cuirass curved outwards in front at a steep angle which culminated at the groin, where it tapered into a small horn-like protrusion. All-over gilding or silvering was replaced by strips of blued or gilded steel, typically running horizontally across the pauldrons at the edge of each lame, and vertically down the cuirass and tassets, which emulated the strips of colourful embroidered cloth that were popular in civilian fashion.