593:
In the case of the bard now in Vienna, the crupper plates that encase the horse’s flanks form imperial double eagles that are enlivened by etched feathers and emblazoned with an escutcheon bearing the arms of
Austria. The corresponding crupper shown in images of the 1480 entries uses the marshalled heraldry of the Habsburg and Burgundian dynasties,supported by a figure that resembles the duchess herself, to declare the consolidation of Mary and Maximilian’s power No surviving equine armor approaches the technical and visual ambition of the articulated bard, and the Helmschmids are the only armorers known to have created matrixes of steel plates flexible enough to encase a horse’s entire lower body as it moved. Indeed, this type of armor became associated with Maximilian, who continued to commission bards that covered horses’ legs and bellies to arm his own steeds and also as diplomatic gifts to forge alliances and demonstrate Habsburg power." The recipients of these bards included
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bards for a procession in
Strasbourg on 31 August 1492, described by the Venetian diplomat Andrea Franceschi as “horse armored from head to foot – an extremely glittering sight!”. According Franceschi's letter, "the animal’s breast was emblazoned with two griffins and on each of its flanks was the imperial eagle."
604:
When the parts are interchangeable, parts of different bards can be mixed to create a full bard. Maximilian seemed to have reattached this bard's imperial eagle cruppers from the bard made fore
Frederick III (and crafted by Helmschmìed and Seusenhofer, as shown in the image above) to parts from other
592:
for the
Burgundian viewers. Kirchhoff writes that, "In its most luxurious iterations, horse armor did far more than protect an expensive and extensively trained steed. It transformed the animal’s body into a moving sculpture and a communicative surface upon which to inscribe the iconography of power.
391:
that pivoted on loose rivets. One set of lames covered the mane and the other covered the neck. These connected to the peytral and the chanfron. Light barding used only the upper lames. Three straps held the crinet in place around the neck. It is thought that thin metal was used for these plates,
363:
as protection for war horses. The basic design of the chanfron remained stable until it became obsolete in the seventeenth century, although late examples are often notable for engraved decoration. A chanfron extended from the horse's ears to its muzzle. Flanges often covered the eyes. In an
575:
The celebrated
Augsburg maker Lorenz Helmschmied made the most technologically developed and also the most complete of the full bards, "The Helmschmid workshop also produced spectacular bards that all but completely enclosed the horse’s body (26.261.14), including the underside of the girth and
583:
were important as iconographic and propagandic devices for
Maximilian in his Burgundian years, as the horse wearing his bards served as living banners for the master even when he could not be present himself. Maximilian utilized the technological expertise of
1063:
456:. These coverings sometimes covered the entire horse from nose to tail and extended to the ground. It is unclear from period illustrations how much metal defensive covering was used in conjunction. Textile covers may also be called barding.
530:: according to Kirchhoff, this breastplate and the (double-headed) imperial eagle cruppers from the bard made for Frederick III above seemed to have been combined with other parts by Maximilian to create the full bard that he used in
576:
abdomen, as well as the legs. Complete to the extreme, and of such technical complexity and considerable expense that they were most likely intended solely for ceremonial purposes and as diplomatic gifts.".
588:, renowned for its innovative wonders and automata, for his bards that, in combination with equine and human performances, would produce optical and technological marvels corresponding to the Burgundian
631:
A cataphract was a cavalryman in full armour riding a horse that was partially or fully armoured. This type of cavalry originated in central Asia and was adopted by the eastern satrapies of the ancient
476:
262:
Fragments of a set of armour with a criniere (protecting neck), peytral (protecting chest) and the croupiere (protecting hind quarters). This set was created by
572:), as both human and equine combatants required more and more protection. But the full bard was expensive and only the richest knights could afford it.
647:
because of its flexibility and effective protection against archers and also because, unlike regular metal types, it was not too heavy for the horses.
432:, then around the front or rear of the horse and back to the saddle again. These appear to have been metal plates riveted to leather or in some cases
290:
351:) was designed to protect the horse's face. Sometimes this included hinged cheek plates. A decorative feature common to many chanfrons is a
438:
armour (which is boiled or treated leather sealed with beeswax or the like). They sometimes had openings designed to allow the rider to use
597:, who was presented with "two coursers all covered with steel to the fetlocks and the belly, save in the spurring place". Another case was
516:
Maximilian I on an armored horse, ca. 1575, from Eine Reihe von in Farben zum Theil schön ausgeführten
Bildern, Herzog August Bibliothek,
449:
was designed to protect the chest of the horse, while the croupiere protected the rear. It sometimes stretched as far back as the saddle.
510:
496:, riding a horse wearing his master Maximilian I's bard in 1480. The bard is crafted by Lorenz Helmschmied. The female figure is likely
372:
from
Scotland appears to be a bronze chanfron from about the 2nd century BC, perhaps later fitted with the bronze horns found with it.
368:, the eyes received no protection. Hinged extensions to cover the jowls were commonly used for jousting tournaments. The enigmatic
486:
387:) was a set of segmented plates that protected the horse's neck. In full barding this consisted of two combinations of articulated
142:
for both rider and horse, are believed by many historians to have influenced the later
European knights, via contact with the
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859:
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as armour protection for knights became more effective, their mounts became targets. This vulnerability was exploited by the
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788:"Imperial Austria: Treasures of Art, Arms and Armor from the State of Styria. The Age of Emperor Maximilian I."
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88:. The practice of armoring horses was first extensively developed in antiquity in the eastern kingdoms of
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A Glossary of the
Construction, Decoration, and Use of Arms and Armor in All Countries and in All Times
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200:
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302:
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17:
884:"Memories in Steel and Paper: A Spectacular Armor and its Representation In Early Modern Augsburg"
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was often affixed to the crinet and wrapped about the horse's neck for additional protection.
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Surviving period examples of barding are rare; however, complete sets are on display at the
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417:) protected the horse's hind quarters. It could be made from any combination of leather,
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Armies of the Hellenistic States, 323 BC–AD 30: History, Organization & Equipment
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929:"Rossharnisch: Fragment eines schweren Rossharnisches mit Rosskopf und Halspanzer"
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Cultural depictions of Maximilian I, Holy Roman Emperor § Armour and weapons
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560:. The development of the full bard was also connected with the development of
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and wife of Maximilian, holding the combined heraldry of Austria and Burgundy.
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in the 14th century, when horses were killed by the infantry, and by the
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231:(hardened leather), but surviving examples of this are especially rare.
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The flanchards, used to protect the flank, attached to the side of the
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A museum display of a sixteenth-century knight with an armoured horse
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The full bard is a "complete ensemble of horse armour", created for
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Another commonly included feature of barding was protection for the
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1025:
Dictionary of Medieval Knighthood and Chivalry: Concepts and Terms
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Barding was often used in conjunction with cloth covers known as
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93:
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Pyhrr, Stuart W.; LaRocca, Donald J.; Breiding, Dirk H. (2005).
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it likely made its way into European military practices via the
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39:
For the culinary practice of adding fat strips to a roast, see
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Peytral with decorative openings, early 16th century, Germany
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Examples of armour for horses could be found as far back as
990:
Judas Maccabaeus: The Jewish Struggle Against the Seleucids
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33:
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The extremely elaborated and innovative bards crafted by
32:
For the archaic storytelling and musical tradition, see
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with a small spike. The chanfron was known as early as
888:
Memo Medieval and Early Modern Material Culture Online
227:. Horse armour could be made in whole or in part of
1037:
688:
254:A chanfron made in Italy in the early 16th century
181:. Barding developed as a response to such events.
1027:, (Westport, Connecticut: Greenwood Press, 1986).
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568:(all three arose from the time Maximilian was in
116:, barded horses have become a symbol of the late
1092:
747:. Royal Armouries. Event occurs at 11:00=-11:33
1032:The Complete Encyclopedia of Arms & Weapons
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771:
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274:and later also used by his son Maximilian I.
993:. Cambridge University Press. p. 314.
768:
986:
881:
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708:Horse Armor of Duke Ulrich of WĂĽrttemberg
62:lamellar horse barding as illustrated on
1044:. New York: Metropolitan Museum of Art.
1034:, (New York:Simon & Schuster, 1979).
952:
741:Eleanor Wilkinson-Keys (20 March 2024).
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1087:images of barding from period documents
953:Esposito, Gabriele (28 February 2019).
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492:Albrecht May, Master-of-Arms, entering
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1041:The Armored Horse in Europe, 1480–1620
851:Dress at the Court of King Henry VIII
108:. Though its historical roots lie in
744:Warwick Shaffron (RA Winter Lecture)
173:shot horses and the then dismounted
112:in the regions of what was once the
623:Taq-e Bostan: equestrian statue of
526:Notice the breastplate(s) with the
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25:
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696:The Savaran: The Original Knights
294:This 15th-century depiction of a
272:Frederick III, Holy Roman Emperor
987:Bar-Kochva, B. (8 August 2002).
542:Maximilian I, Holy Roman Emperor
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500:, the contemporary ruler of the
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1067:, Mineola: Dover Publications.
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698:. University of Oklahoma Press.
184:The full bard was developed by
848:Hayward, Maria (5 July 2017).
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601:'s so-called Burgundian bard.
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882:Kirchhoff, Chassica (2019).
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544:, by master armourers from
235:Elements of a European bard
29:Body armour for a war horse
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1116:Horse protective equipment
854:. Routledge. p. 330.
712:Philadelphia Museum of Art
612:
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221:Metropolitan Museum of Art
201:Philadelphia Museum of Art
169:in the same century where
96:. After the conquests of
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1030:Mondadore, Arnoldo, ed.
765:Mondadore, pp. 417 - 418.
657:Horses in the Middle Ages
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276:Kunsthistorisches Museum
1023:Broughton, Branford B.
824:"Horse Armor in Europe"
177:knights were killed by
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570:Burgundian Netherlands
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308:Le Livre des tournois
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159:Battle of Bannockburn
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467:linked around them.
118:European Middle Ages
722:Phyrr et al., 57-59
595:Sigismund I the Old
132:classical antiquity
98:Alexander the Great
777:Mondadore, p. 143.
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581:Lorenz Helmschmied
558:Konrad Seusenhofer
554:Lorenz Helmschmied
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268:Konrad Seusenhofer
264:Lorenz Helmschmied
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205:Wallace Collection
190:Konrad Seusenhofer
186:Lorenz Helmschmied
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52:
1085:Overview of Bards
1000:978-0-521-01683-4
966:978-1-5267-3030-5
959:. Pen and Sword.
900:10.25536/20190402
861:978-1-351-56917-0
828:www.metmuseum.org
813:, pp. 31–37.
731:Broughton, p. 100
662:Horses in warfare
562:Maximilian armour
313:Barthélemy d'Eyck
41:Barding (cooking)
16:(Redirected from
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566:Landsknecht
398:Mail armour
300:caparisoned
171:long-bowmen
149:During the
136:Cataphracts
82:body armour
1095:Categories
1018:References
933:www.khm.at
791:Retrieved
625:Khosrow II
615:Cataphract
609:Cataphract
599:Henry VIII
532:Strasbourg
475:See also:
454:caparisons
296:tournament
243:Chanfron,
219:, and the
104:and later
86:war horses
1006:27 August
972:27 August
938:26 August
913:26 August
908:2523-2932
894:(4): 34.
867:26 August
833:27 August
793:27 August
590:entremets
550:Innsbruck
471:Full bard
465:chainmail
405:croupiere
381:manefaire
341:chamfrein
110:antiquity
1061:(1934).
751:20 March
667:Destrier
651:See also
641:Seleucid
586:Augsburg
564:and the
546:Augsburg
377:criniere
349:shaffron
345:champron
337:chamfron
333:champion
329:chamfron
325:chaffron
321:chanfron
225:New York
121:chivalry
58:Chinese
18:Chamfron
1101:Barding
710:at the
534:, 1492.
528:griffin
447:peytral
414:crupper
305:, from
165:at the
163:English
157:at the
138:, with
125:knights
94:Pahlava
90:Parthia
70:Barding
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997:
963:
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430:saddle
407:(also
385:crinet
353:rondel
347:, and
303:horses
211:, the
209:London
203:, the
175:French
683:Notes
552:like
494:Namur
461:reins
440:spurs
421:, or
389:lames
217:Leeds
155:Scots
80:) is
1069:ISBN
1046:ISBN
1008:2022
995:ISBN
974:2022
961:ISBN
940:2022
915:2022
904:ISSN
892:2019
869:2022
856:ISBN
835:2022
795:2022
753:2024
639:The
556:and
548:and
445:The
419:mail
403:The
375:The
319:The
270:for
266:and
192:for
188:and
92:and
84:for
78:barb
74:bard
34:Bard
896:doi
411:or
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311:by
223:in
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