Florent Vincent. Los franceses en Agincourt, 1415. De izquierda a derecha: una milicia pavoisier de Amiens, Juan I de Borbón y un caballero francés.
Florent Vincent. Aliados de Francia, década de 1420. De izquierda a derecha: hombres de armas lombardos (1420-25), infantería escocesa (1420-25) y John Stewart de Darnley (1427)
Florent Vincent. Juana de Arco con los Caballeros. De izquierda a derecha: El caballero (c. 1429), Juana con armadura (1429) y Etienne de Vignolles, "La Hire" (c. 1430-35).
Florent Vincent. Artillería francesa. En primer plano: un wegler con un cargador y un artillero (c. 1450). Al fondo: un artillero (c. 1420-30) y una gran bombarda (c. 1430-50).
Florent Vincent. La Guerra Civil en Francia, "Los tiempos de los desolladores". De izquierda a derecha: "El Givoder" (c. 1440), Geoffroy Morillon (1439) y Pierre Perelen (1430).
THE CIVIL WAR
E1: Geoffroy Morillon, c.1439
This squire was killed in battle against Robert de Sarrebruck, a leader of ‘routiers’ marauders. On his funerary effigy his
harness does not include its shoulder protectors. His helmet appears to be of an intermediate type, combining elements of the sallet (its visor) and the armet (its general shape, and large removable bevor). Such helmets appear in the iconography, and are known from rare, slightly later examples of Flemish or English make.
E2: ‘Écorcheur’, c.1440
Based on an illumination from the Roman de Guiron le Courtois (Bibliothèque Nationale Française). Active in the east of present-day France, this soldier-brigand is equipped with a breastplate of German origin (or made in the Burgundian Low Countries), doubtless a prize of war. His German helmet again shows mixed influences, combining features of a deep visorless sallet and a ‘kettle hat’. His main weapon is a vouge polearm.
E3: Pierre Pèlerin, 1430
This squire from the Dauphiné himself left us, in the records of a trial, a description of his equipment at the battle of Anthon, corroborated by witnesses. He wore a sallet decorated with a red band (orle) with three white crosses. He does not mention body armour, but his opponent says he wore a cuirass or ‘thirds’ of one, perhaps meaning a plackart. He wore (upper?) arm guards and gauntlets, but no leg armour, only long houseaux boots. We show these as made typically loose for ease of putting on and off, with the surplus width folded outwards and fastened with buckles. Over all he wore a black huque (tabard-like surcoat); he stressed the high quality of the white cross sewn to it, and also of his sword, which we have shown with a ‘hand-and-a-half’ hilt.
E1: Geoffroy Morillon, c.1439
This squire was killed in battle against Robert de Sarrebruck, a leader of ‘routiers’ marauders. On his funerary effigy his
harness does not include its shoulder protectors. His helmet appears to be of an intermediate type, combining elements of the sallet (its visor) and the armet (its general shape, and large removable bevor). Such helmets appear in the iconography, and are known from rare, slightly later examples of Flemish or English make.
E2: ‘Écorcheur’, c.1440
Based on an illumination from the Roman de Guiron le Courtois (Bibliothèque Nationale Française). Active in the east of present-day France, this soldier-brigand is equipped with a breastplate of German origin (or made in the Burgundian Low Countries), doubtless a prize of war. His German helmet again shows mixed influences, combining features of a deep visorless sallet and a ‘kettle hat’. His main weapon is a vouge polearm.
E3: Pierre Pèlerin, 1430
This squire from the Dauphiné himself left us, in the records of a trial, a description of his equipment at the battle of Anthon, corroborated by witnesses. He wore a sallet decorated with a red band (orle) with three white crosses. He does not mention body armour, but his opponent says he wore a cuirass or ‘thirds’ of one, perhaps meaning a plackart. He wore (upper?) arm guards and gauntlets, but no leg armour, only long houseaux boots. We show these as made typically loose for ease of putting on and off, with the surplus width folded outwards and fastened with buckles. Over all he wore a black huque (tabard-like surcoat); he stressed the high quality of the white cross sewn to it, and also of his sword, which we have shown with a ‘hand-and-a-half’ hilt.
Florent Vincent. Reformas de Carlos VII, década de 1440. De izquierda a derecha: hombre de armas con armadura, jolgorio y arquero a caballo desmontado. Estas tres figuras se reconstruyen a partir de las órdenes reales de Carlos y de un manuscrito anónimo de 1446 que detalla el armamento de cada categoría de soldados franceses de la época.
F1: Man-at-arms
His helmet is a visored sallet completed by a large before, and he wears armour of Lombard or Lombard-influenced French
manufacture. Note the extra external plate protecting his left armpit, and the large, symmetrical elbow counters, tied with ‘points’ to the arming doublet beneath; such couters are mentioned specifically in the 1446 MS. The rider’s position in the war saddle requires that the rowel spurs have long shanks. His sword is relatively broad-blades in relation to its length, which is reduced for ease of handling on horseback.
F2: Mounted longbowman on foot
His helmet is the simplest form of sallet. Archers are frequently shown dressed in jacks, gambesons or aketons – all these terms being used for quilted jackets. Some jacks were worn over a ringmail hauberk, or under a plate plackart. He wears Italian ‘half-leg armour’, designed to be worn without greaves. His sword is longer than that of the man-at-arms because he fights mainly on foot, where he can grasp it with both hands. His bow is similar to that of his English opponents, usually of yew wood, about 62–68 ins (c.2m) long. Over his highcollared ‘soft armour’ this archer wears a huque or hoqueton in the national colours.
F3: Coutilier
Like the archer, this ‘mounted infantryman’ is dismounted for combat. The etimology of the word ‘coutilier’ probably originates from the polearm used by this soldier: a sort of long knife (coutil) mounted on a shaft. Such men were essentially considered as auxiliaries, and some chroniclers used the same term for a knight’s valets. He wears a ringmail shirt over a quilted jacket. His helmet, a barbute with a fold-up nasal, is of Italian origin. His main weapo
His helmet is a visored sallet completed by a large before, and he wears armour of Lombard or Lombard-influenced French
manufacture. Note the extra external plate protecting his left armpit, and the large, symmetrical elbow counters, tied with ‘points’ to the arming doublet beneath; such couters are mentioned specifically in the 1446 MS. The rider’s position in the war saddle requires that the rowel spurs have long shanks. His sword is relatively broad-blades in relation to its length, which is reduced for ease of handling on horseback.
F2: Mounted longbowman on foot
His helmet is the simplest form of sallet. Archers are frequently shown dressed in jacks, gambesons or aketons – all these terms being used for quilted jackets. Some jacks were worn over a ringmail hauberk, or under a plate plackart. He wears Italian ‘half-leg armour’, designed to be worn without greaves. His sword is longer than that of the man-at-arms because he fights mainly on foot, where he can grasp it with both hands. His bow is similar to that of his English opponents, usually of yew wood, about 62–68 ins (c.2m) long. Over his highcollared ‘soft armour’ this archer wears a huque or hoqueton in the national colours.
F3: Coutilier
Like the archer, this ‘mounted infantryman’ is dismounted for combat. The etimology of the word ‘coutilier’ probably originates from the polearm used by this soldier: a sort of long knife (coutil) mounted on a shaft. Such men were essentially considered as auxiliaries, and some chroniclers used the same term for a knight’s valets. He wears a ringmail shirt over a quilted jacket. His helmet, a barbute with a fold-up nasal, is of Italian origin. His main weapo
G1: Arthur de Richemont, condestable de Francia, c.1450
Florent Vincent. La reconquista de Francia. De izquierda a derecha: arquero escocés, guardaespaldas del rey Carlos VII (c. 1460), Arturo de Richemont (c. 1450) y franco-arquero («arquero libre») de Aurillac (c. 1455).
G1: Arthur de Richemont, Constable of France, c.1450
This is how the constable was depicted in a series of tapestries celebrating the victory at Formigny. He is shown in his full knightly splendour, wearing a plumed armet helmet
and an armour probably made in the Milan region; again, note the enlarged left pauldron and coulter. The caparison of his horse shows the black-on-white hermine of Richmont’s native Brittany.
G2: Archer, King Charles VII’s Scottish Bodyguard, c.1460
Based on miniatures by J. Fouquet, and chronicles. His unit’s elite status is evidenced by his plumed sallet with massive silver rivet-heads, and the richness of his hoqueton. This is in Charles’s personal colours of red, white and green, embellished with gold embroidery and a motif of irises, which are also painted on his shield (although the king’s emblematic flower was the rose). Under the surcoat he wears a brigandine with shoulder-pieces, and at least parts of a Milanese armour comparable to that worn by G1 – though a full harness was obviously incompatible with the use of a bow.
G3: Franc-archer from Aurillac, c.1455
This figure is reconstructed according to the town’s archives. He is wearing a fine visored sallet; ‘soft armour’ with fashionable puffed shoulders; and a livery surcoat in the king’s colours, with the name of his province, Auvergne (‘Alvernhe’) lettered in black on the white cross. He is equipped with a powerful windlass crossbow, here with the tensioning mechanism in place.
This is how the constable was depicted in a series of tapestries celebrating the victory at Formigny. He is shown in his full knightly splendour, wearing a plumed armet helmet
and an armour probably made in the Milan region; again, note the enlarged left pauldron and coulter. The caparison of his horse shows the black-on-white hermine of Richmont’s native Brittany.
G2: Archer, King Charles VII’s Scottish Bodyguard, c.1460
Based on miniatures by J. Fouquet, and chronicles. His unit’s elite status is evidenced by his plumed sallet with massive silver rivet-heads, and the richness of his hoqueton. This is in Charles’s personal colours of red, white and green, embellished with gold embroidery and a motif of irises, which are also painted on his shield (although the king’s emblematic flower was the rose). Under the surcoat he wears a brigandine with shoulder-pieces, and at least parts of a Milanese armour comparable to that worn by G1 – though a full harness was obviously incompatible with the use of a bow.
G3: Franc-archer from Aurillac, c.1455
This figure is reconstructed according to the town’s archives. He is wearing a fine visored sallet; ‘soft armour’ with fashionable puffed shoulders; and a livery surcoat in the king’s colours, with the name of his province, Auvergne (‘Alvernhe’) lettered in black on the white cross. He is equipped with a powerful windlass crossbow, here with the tensioning mechanism in place.
H1: Estandarte de Juana de Arco (de varias descripciones
Florent Vincent. Estandartes de los líderes militares franceses del siglo XV. De arriba a abajo: Juana de Arco, Carlos VII, Arturo de Richemont, Prigent de Coetivi y el supuesto estandarte de Juan de Borbón.
H1: Joan of Arc’s standard (from various descriptions)
The other side was decorated differently, with a coat of arms in which a dove held a phylactery bearing the inscription ‘De par le Roy du Ciel’. Joan also had a pennon depicting this Annunciation, which was accidentally burnt when she entered Orléans.
H2: A standard of Charles VII (from a tapestry in the Musée de Rouen)
Saint Michael was revered as the protector of the kingdom of France during the Hundred Years’ War, and particularly after Mont Saint-Michel’s long resistance to the English. As early as 1419 records indicate that Charles VII commissioned the production of two large banners depicting ‘a fully armed Saint Michael holding a naked sword and killing a snake’. The radiant sun was an emblem that Charles VII adopted from his father Charles VI.
Several tapestries illustrating phases of the fighting at Formigny (1450) were woven shortly after the battle. Now lost, they are nevertheless known from a description and drawings dating from the early 17th century, and they featured several commanders of the French army with their standards.
H3: Arthur de Richemont’s standard as Constable of France The constable’s badge (a crowned boar) and his motto (‘Qui que le veuille’) also figure on his seals.
H4: Prigent de Coëtivy’s standard
The round mirrors and the motto ‘Dame ans per’ (‘lady without equal’) are associated with the chivalric culture of courtly love, and appear in several manuscripts owned by Coëtivy.
H5: Presumed standard of Jean de Bourbon
This standard is supposed to be that of the Comte de Clermont at the battle of Formigny. However, bees are an unusual emblem, which the future Duc de Bourbon otherwise never used.
The other side was decorated differently, with a coat of arms in which a dove held a phylactery bearing the inscription ‘De par le Roy du Ciel’. Joan also had a pennon depicting this Annunciation, which was accidentally burnt when she entered Orléans.
H2: A standard of Charles VII (from a tapestry in the Musée de Rouen)
Saint Michael was revered as the protector of the kingdom of France during the Hundred Years’ War, and particularly after Mont Saint-Michel’s long resistance to the English. As early as 1419 records indicate that Charles VII commissioned the production of two large banners depicting ‘a fully armed Saint Michael holding a naked sword and killing a snake’. The radiant sun was an emblem that Charles VII adopted from his father Charles VI.
Several tapestries illustrating phases of the fighting at Formigny (1450) were woven shortly after the battle. Now lost, they are nevertheless known from a description and drawings dating from the early 17th century, and they featured several commanders of the French army with their standards.
H3: Arthur de Richemont’s standard as Constable of France The constable’s badge (a crowned boar) and his motto (‘Qui que le veuille’) also figure on his seals.
H4: Prigent de Coëtivy’s standard
The round mirrors and the motto ‘Dame ans per’ (‘lady without equal’) are associated with the chivalric culture of courtly love, and appear in several manuscripts owned by Coëtivy.
H5: Presumed standard of Jean de Bourbon
This standard is supposed to be that of the Comte de Clermont at the battle of Formigny. However, bees are an unusual emblem, which the future Duc de Bourbon otherwise never used.
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