Save object
You may download and use the image for private purposes. Nutzungsbedingungen & AGBs
To request to use the image for commercial or academic purposes, please send us a reproduction request
Save object
You may download and use the image for private purposes. Nutzungsbedingungen & AGBs
To request to use the image for commercial or academic purposes, please send us a reproduction request
Save object
You may download and use the image for private purposes. Nutzungsbedingungen & AGBs
To request to use the image for commercial or academic purposes, please send us a reproduction request
Save object
You may download and use the image for private purposes. Nutzungsbedingungen & AGBs
To request to use the image for commercial or academic purposes, please send us a reproduction request
Fußkampfharnisch (Kempfküriss)
This armour for foot combat was originally made for Claude de Vaudrey, a Burgundian nobleman and one of the period’s most colourful figures. Vaudrey was famous for his bravery and his martial skills, both on the battlefield and in the lists, and for organizing elaborate tournaments.
The armour was first listed in 1555 in the inventory of the arsenal at Innsbruck as a trophy won by Maximilian I in a tournament: ‘It had belonged to a Burgundian lord called Claude Wadri, who had fought in it against Emperor Maximilian … and which His Imperial Majesty had won and which he had taken’ (so ainem Burgundischen herrn, Claudi Wadri genant, zuegehörig gewest darinnen er mit kaiser Maximilian … gekempft und hochermelte kais. maj. erobert und also der beruert kuriss zu derselben handen genomen worden). This duel was probably fought during the Diet of Worms held in 1495. Legend has it that Vaudrey had had a vision in which he was told to challenge the ‘world’s preeminent king’ in the lists. This is why he asked to enter the lists with Emperor Maximilian. The sources describe the joust at Worms as one fought by mounted opponents, but this was generally followed by a combat on foot. Freydal, Maximilian’s tournament book (c.1512/13; fol. 39) contains an idealized illustration of his victory in this sensational duel.
Vaudrey’s armour was stamped with the master’s mark of two Milanese mastercraftsmen: MER (with a crown) is a reference to a member of the Merate or Meraviglia families, both well-known dynasties of armourers, and DMY (with a cross) is the mark of Damiano Missaglia. Two different master’s marks suggest that this splendid armour was a collaborative effort. Alternatively, Vaudrey may have assembled his armour himself by selecting and configuring the best component pieces.
The long tonlet is designed to protect the wearer’s lower quadrants of the abdomen during the relatively brutal combat on foot, without restricting his mobility. The same is true of the armour’s broad shoulders. The head can move inside the helmet, which is firmly bolted to breastplate and backplate. Maximilian also owned another very similar, completely gilt tonlet armour (inv. B 71).




This armour for foot combat was originally made for Claude de Vaudrey, a Burgundian nobleman and one of the period’s most colourful figures. Vaudrey was famous for his bravery and his martial skills, both on the battlefield and in the lists, and for organizing elaborate tournaments.
The armour was first listed in 1555 in the inventory of the arsenal at Innsbruck as a trophy won by Maximilian I in a tournament: ‘It had belonged to a Burgundian lord called Claude Wadri, who had fought in it against Emperor Maximilian … and which His Imperial Majesty had won and which he had taken’ (so ainem Burgundischen herrn, Claudi Wadri genant, zuegehörig gewest darinnen er mit kaiser Maximilian … gekempft und hochermelte kais. maj. erobert und also der beruert kuriss zu derselben handen genomen worden). This duel was probably fought during the Diet of Worms held in 1495. Legend has it that Vaudrey had had a vision in which he was told to challenge the ‘world’s preeminent king’ in the lists. This is why he asked to enter the lists with Emperor Maximilian. The sources describe the joust at Worms as one fought by mounted opponents, but this was generally followed by a combat on foot. Freydal, Maximilian’s tournament book (c.1512/13; fol. 39) contains an idealized illustration of his victory in this sensational duel.
Vaudrey’s armour was stamped with the master’s mark of two Milanese mastercraftsmen: MER (with a crown) is a reference to a member of the Merate or Meraviglia families, both well-known dynasties of armourers, and DMY (with a cross) is the mark of Damiano Missaglia. Two different master’s marks suggest that this splendid armour was a collaborative effort. Alternatively, Vaudrey may have assembled his armour himself by selecting and configuring the best component pieces.
The long tonlet is designed to protect the wearer’s lower quadrants of the abdomen during the relatively brutal combat on foot, without restricting his mobility. The same is true of the armour’s broad shoulders. The head can move inside the helmet, which is firmly bolted to breastplate and backplate. Maximilian also owned another very similar, completely gilt tonlet armour (inv. B 71).
Owner:
Claude de Vaudrey, Seigneur de L'Aigle et de Chilly (gest. 1515)
Artist:
Giovanni Marco Meraviglia und Mitarbeiter, (Plattner) ? (erw. 1482, tätig in Mailand)
Time:
c. 1495
Object Name
Fußkampfharnisch (Kempfküriss)
Culture
Mailand
Material/technology:
Iron; leather; wood (figurine)
Dimensions:
Maße (incl. Sockel): H 183 cm, B 90 cm, T 51 cm
Sockelplatte: H 4 cm, B 60 cm, T 60 cm
Maße je Schuh: L 28,5 cm, B 16,5 cm, H 11 cm, Gewicht: 0,60 kg
Stamp / markings
auf beiden Oberarmröhren: in gotischer Schrift "mer", darüber eine Krone (Meraviglia oder Merate)
auf Helm und Turnierhandschuh: Sparrenkreuz, davon links 'd', darunter 'm', rechts 'y' (?) (Damiano Missaglia zugeschrieben)
Copyright
Kunsthistorisches Museum, Hofjagd- und Rüstkammer
Invs.
Hofjagd- und Rüstkammer, B 33
Browse more
Similar items you might be interested in

Hl. Hieronymus J. Löwy, K. und K. Hof-Photograph, Kunst- und Verlagsanstalt (Wien) 1888 bis 1891

Susanna und die beiden Alten J. Löwy, K. und K. Hof-Photograph, Kunst- und Verlagsanstalt (Wien) 1888 bis 1910

Liebe und Tugend J. Löwy, K. und K. Hof-Photograph, Kunst- und Verlagsanstalt (Wien) 1888 bis 1910

Roberto da Sanseverino Graf von Caiazzo um 1485

Reiterharnisch (Küriss); Armet; Große Schaller; Reiterharnisch J. Löwy, K. und K. Hof-Photograph, Kunst- und Verlagsanstalt (Wien) 1892

Giovanni della Casa (1503-1556) Francesco de' Rossi, gen. Cecchino Salviati um 1535/1537

Christ on the Mount of Olives Giovanni Battista Caracciolo, gen. Battistello around 1615/17

Virgin Mary with Child and St. Anne Giovanni Battista Caracciolo, gen. Battistello around 1633

Bildnis einer Frau in gestreiftem Kleid mit Fächer J. Löwy, K. und K. Hof-Photograph, Kunst- und Verlagsanstalt (Wien) 1888 bis 1891










