#Francesco Terzio

[royalty-nobility]

Archduke Ferdinand II (1529-1595), Knee Piece in Eagle Armor

Artist: Francesco Terzio (Italian, 1523-1591) Renaissance

Date: c. 1550

Medium: Oil painting

Collection: Kunsthistorisches Museum Vienna, Austria

Description

The knee-length portrait shows Archduke Ferdinand II in the so-called ‘Eagle Garniture’, one of the most expensive ensembles of plate-armour made during that period. Ferdinand is depicted at the height of his regency in Bohemia. He wears his trademark ‘Bohemian hat’, a head-covering made of felt and silver wire. On the table beside him lie a mantled helmet with a red plume, a gauntlet and a red sash. These military accoutrements probably allude to Ferdinand’s military command in Hungary against the Ottoman army in 1556, where he was responsible for the organisation of supplies of food and munitions for the royal fortress of Szigetvár.

When Archduke Ferdinand II was appointed regent of Bohemia in 1547, his exceptional position as supreme representative of the House of Austria demanded a display of magnificence at court. This also included operating an armoury, which produced not only military equipment but also suits of plate-armour and accoutrements for courtly tournaments. Armourers who worked for Ferdinand included the Nuremberg-born Wolf Keser (also Kheser), Melchior Pfeiffer and Wolfgang Kaiser. One Francesco Ligozzi (also Ligotza) is also mentioned as a ‘harnischmaister’ (master harnesser).

The Court Armoury was kept very busy supplying equipment for the numerous tournaments that Ferdinand hosted, notably those in 1556, 1559 and 1560. New suits of armour were also made for the Hungarian campaign of 1556. The Prague harnesses are typified by their elegant lines, compact, rounded shape and high waist. Other remarkable features include the burgonets made in two pieces, a striking motif of scales on the gorgets with powerful corded edges and the lames (overlapping plates) of the pauldrons (shoulder-guards) divided into two sections.

[history-of-fashion]

ab. 1550 Francesco Terzio - Ferdinand II

(Kunsthistorisches Museum, Vienna)

[hoopskirtsociety]

Historical Fashion Details in Mens Fashions.

Ferdinand II of Austria by Francesco Terzio

[steellegacy]

❓ How long did it take to make a suit of armor?

⚒ To give a definitive answer to this question is impossible for several reasons. First, hardly any evidence survives that would provide a complete picture for any given period. Scarce evidence is available from the fifteenth century onward as to how armor was ordered, in what time the order was completed, and how much the parts or entire armor cost. Second, a complete armor could comprise elements made by several specialized armorers. Pieces might also be held in stock half-finished and then fitted for a specific commission. Finally, the matter is complicated by regional and national differences. Throughout the German-speaking lands, most armorer workshops were controlled by strict guild regulations, which limited the number of apprentices, and thus had a direct effect on the number of pieces that could be produced by one master and his small workshop. In Italy, on the other hand, no such regulations existed, and workshops could accordingly be much larger, which undoubtedly must have enhanced speed and quantity of production.

In any case, one must bear in mind that the production of arms and armor was a thriving business throughout the Middle Ages and the Renaissance. Armorers, blade smiths, gun makers, crossbow and bow makers, and fletchers were found in every large town. Then as now, their market was regulated by supply and demand, and time-efficient work must have been an essential part of a successful business. The commonly encountered myth that “it took years to make a single mail shirt” accordingly is nonsense (which is not to deny, however, that mail making was an extremely labor-intensive occupation).

The answer to this question is therefore perhaps as simple as it is elusive. The time it took to make armor depended on several factors, namely, who ordered the work, from whom the work was commissioned (i.e., how many people were involved in the production, and how busy the workshop was with other commissions), and finally, what quality of armor was asked for. Two famous examples may serve to illustrate this point. In 1473, Martin Rondelle, probably an Italian armorer working in Bruges, who called himself “armorer of My Lord the Bastard of Burgundy,” wrote to his English client, Sir John Paston. The armorer informs Sir John that he can make the requested suit of armor as soon as the English knight tells him what pieces he requires, in which fashion, and when the armor must be completed (unfortunately, no time frame is given). In court workshops, the production of garnitures for a princely client appears to have required more time. It apparently took the court armorer Jorg Seusenhofer (and a small number of assistants) about one year to complete a horse armor and a large garniture commissioned in November 1546 by King (later Emperor) Ferdinand I (1503–1564) for himself and his son, and delivered in November 1547. We do not know whether Seusenhofer and his workshop were also working on other commissions during that time.

🖼 Ferdinand II, Archduke of Austria

👉By the way, #MilaneseArmourBeauchamp was made by our workshop "Steel Legacy" for 10 months.

- - ❓ Сколько времени уходило на изготовление полного доспеха?

⚒ Однозначно ответить на этот вопрос сложно по ряду причин. Во-первых, доказательства, способные нарисовать полную картину для любого из периодов, не сохранились. Примерно с XV в. до нас дошли разрозненные примеры того, как заказывали доспехи, сколько времени занимало изготовление таких заказов, и сколько стоили различные детали доспехов.

Во-вторых, полный доспех мог состоять из частей, сделанных разными оружейниками с узкой специализацией. Более того, отдельные части брони могли продаваться в незавершенном виде, а затем подгоняться по месту за определённую сумму. И, наконец, дело осложнялось региональными и национальными различиями.

Что касается немецких оружейников, то большинство мастерских контролировалось строгими правилами гильдии, ограничивавшими количество учеников, и тем самым контролировавшими количество предметов, которые мог произвести один мастер и его мастерская. В Италии не существовало подобных ограничений и мастерские могли расти, что улучшало скорость создания и количество продукции.

В любом случае стоит иметь в виду, что производство брони и оружия процветало в средние века и в эпоху Возрождения. Оружейники, изготовители клинков, пистолетов, луков, арбалетов и стрел присутствовали в любом большом городе. Как и сейчас, их рынок зависел от спроса и предложения, а эффективная работа была ключевым параметром успеха. Распространённый миф о том, что изготовление простой кольчуги отнимало несколько лет – это чепуха (но нельзя отрицать, что изготовление кольчуг было очень трудозатратным).

Ответ на этот вопрос столь же прост, сколь и неуловим. Время изготовления брони зависело от нескольких факторов: например, от заказчика, от того, кому было поручено изготовление заказа (количество людей в производстве и занятость мастерской другими заказами), и качества доспехов. Два знаменитых примера послужат иллюстрацией.

В 1473 г. Мартин Рондель, возможно, итальянский оружейник, работавший в Брюгге, называвший себя «оружейником господина моего баст��рда Бургундского», писал своему английскому клиенту, сэру Джону Пастону. Оружейник ставил сэра Джона в известность, что он может выполнить запрос на изготовление доспехов, как только английский рыцарь сообщит, какие части костюма ему потребны, в каком виде, и срок, к которому доспех должен быть завершён (к сожалению, оружейник не указал возможных сроков).

В придворных мастерских производство доспехов для высших особ, судя по всему, отнимало больше времени. Придворному оружейнику Йоргу Зойзенхоферу потребовалось около года, чтобы закончить конные доспехи и большой гарнитур, заказанный в ноябре 1546 г. королем (впоследствии императором) Фердинандом I (1503-1564 гг.) для себя и своего сына, и был выполнен в ноябре 1547 г.

🖼Фердинанд II, эрцгерцог Австрии (Художник: Francesco Terzio)

👉Кстати, #МиланскиеДоспехиБошампа изготавливались нашей мастерской "Стальное Наследие" в течение 10 месяцев.

[harvard-art-museums-drawings]

Elizabeth, Second Wife of Rudolph, King of Bohemia, Francesco Terzio, 16th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Bequest of Mrs. Alfred Mansfield Brooks Size: 28.1 × 20 cm (11 1/16 × 7 7/8 in.) Medium: Brown ink and brown wash, some black chalk, later gone over with a stylus, on off-white antique laid paper

https://www.harvardartmuseums.org/collections/object/296298

[royalty-nobility]

Archduchess Barbara, Duchess of Ferrara

Artist: Francesco Terzio (Italian, 1523-1591)

Object: Painting

Date: 1565

Collection: Kunsthistorisches Museum, Vienna, Austria

Archduchess Barbara of Austria

Barbara of Austria (30 April 1539 – 19 September 1572), was an Archduchess of Austria as a member of the House of Habsburg and by marriage Duchess consort of Ferrara, Modena and Reggio during 1565–1572.

[harvard-art-museums-drawings]

Agnes, Second Wife of Rudolf I of Hapsburg, Francesco Terzio, 16th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Bequest of Mrs. Alfred Mansfield Brooks Size: actual: 28.2 x 21.5 cm (11 1/8 x 8 7/16 in.) Medium: Brown ink and brown wash over black chalk, later gone over with a stylus, on off-white antique laid paper

https://www.harvardartmuseums.org/collections/object/296104

[history-of-fashion]

1557 Francesco Terzio - Portrait of Archduke Ferdinand II of Austria wearing a ring bag at his waist

(Kunsthistorisches Museum, Vienna)