The Age of Armor: from the Higgins Armory Musuem - Learning from Exhibitions - art project

Arts & Activities, Dec, 2002 by Mark M. Johnson

Armor is as old as human civilization itself, as it has taken many forms and served several purposes. From a practical and defensive point of view, armor provided protection in battle at times when warfare was common and combat was fought hand-to-hand.

On the other hand, over time, armor provided a sense of personal identity and loyalty, and its wearer enjoyed a special level of social, and even heroic, prestige. As such, armor developed in two directions--that of a functional, battle-ready, protective wear, often heavy, cumbersome and unadorned; and the alternate armor made for presentation purposes, parades and pageantry.

Although armor can be associated with several eras of history, both in the East and West, the most common association is usually made with the armor of the medieval and Renaissance periods. The exhibition, The Age of Armor, draws on the large and rich collection of the Higgins Armory Museum, the only such institution in the United States dedicated to bringing these artifacts to audiences who have little opportunity to see them.

This exhibition provides an overview of the history of personal armor, illustrates its uses, and examines the skills needed to shape and decorate the metal into functional or fashionable suits of armor. Overall, the exhibition includes nearly 70 unique armor objects and artifacts, ranging from an impressive sword to full sets of body armor for a man and his steed.

Armor can be viewed from multiple perspectives--as fashion, as defensive material, as hollow sculpture, or as evidence of metallurgy and the history of an industry. The many-sided interests--art, history, technical and military--have resulted in a wide and diverse audience that is sure to be satisfied with the variety and quality of this exhibition.

While the quality and strength of the armor was based largely on the origin of the metal itself--and the textural embellishments were dependent on the skill of local artisans--the engineering and assembly of a suit of armor required enormous knowledge, skill and invention. A suit required the best steel--strong, light, and beautiful--to be conformed to an individual's body and built with over 200 unique-sized metal plates individually fashioned with sliding rivets to allow for the maximum and most comfortable physical movement.

Two different processes achieved etched designs in armor. One method involved coating the surface of the metal with wax or another protective layer. The desired design was then scratched through the protective coating with a sharp point. Acid would then permanently "etch" the design onto the exposed surface of the metal. Another method, the opposite procedure, was to place a protective surface over the design and etch away the background.

The primary centers for the creation of armor were Milan, Italy, and Augsburg, Germany, although fine and functional armor was produced elsewhere throughout the continent and beyond. Salesmen and fitters from large armor establishments were sent to the courts of Europe to solicit orders for suits of armor as well as all the accessories that would accompany the well-dressed knight. Such items included, but were not limited to, metal tools and weapons.

The full-service armorer could also provide the soft goods--plumes, scarves, velours, velvets and other materials--that would complete the knight's attire or event setting. When armor went out of fashion, largely due to the invention of gunpowder and firearms, the salesmen (called "Milaners") continued to sell their soft goods, which eventually came to be known as "millinery."

Today's ever-popular image of a "knight in shining armor" is actually based on a type of armor from the late 16th century, a time when the fully armored horseman was disappearing from the battlefield. With the introduction of firearms, soldiers were beginning to shed elements of their armor on campaign, usually beginning with the armor for their arms and legs. By this method they lost weight and gained mobility.

Torso and head armor were eventually made heavier to resist the impact of musket fire; however, as firearms quickly became more powerful, the increased weight of effective armor was simply too burdensome to wear. By 1700, armor was abandoned for military use but continued to be popular for ceremonial purposes.

The Age of Armor is organized from the collections of the Higgins Armory Museum and circulated by Smith Kramer Fine Art Services. For information on this and other Smith Kramer exhibitions, including the itineraries on many exhibitions, visit: www.smithkramer.com.

ITINERARY

Nov. 30, 2003-Feb. 8, 2004 Museum of Arts and Sciences Daytona Beach, Fla.

March 4-May 16, 2004 The Arkansas Arts Center, Little Rock

June 13-Aug. 22, 2004 Sunrise Museum, Charleston, W.V.

Sept. 19-Dec. 5, 2004 Mobile (Ala.) Museum of Art

Jan. 2-March 13, 2005 Dane G. Hansen Memorial Museum Logan, Kan.

April 10-Sept. 25, 2005 Dennos Museum Center N.W. Michigan College, Traverse City