Volltext: Alte und Moderne Kunst XXVI (1981 / Heft 177)

ture, namely the cuirass and heimet in the 
politan Museum, New York, whlch is signed 
backplate D.V.G. LOCHORST FECIT (fig. 5). 
case the signature probably refevs to the e 
sed ornament rather than to the working of 
mour plates. Close in style to this Loch: 
mour, and probably from the same worksh 
the helmet and companion shieid (fig. 2) i: 
den, the shield in the Kunsthistorisches M: 
Vienna (fig. 4), and a morion in the Muse 
deutsche Geschichte, Berlin (fig. 6). The ti 
ces in Dresden were appavently purcha 
Augsburg and presented in 1589 to Christi 
his wife, the Electress Sophia. The city oI 
burg was, however, an international mart a 
place of purchase does not necessarily 
piace o1 manufacture. Of similar inspi 
though not necessarily of the same origin, 
series of six designs for saddle steels in 
brary of the University of Eriangen, which 
studied in another publication! l was incll 
attribute them to a Nürnberg artist under F 
influence but a Netherlandish master can 
excluded. My reason for suggesting Nürnb 
in the presence of borders of Greek key, 
scroll or anthemion design. Such classic 
ments are found in the work of Wenzel Jar 
and his followers, but were usualiy avoided 
Flemish masters of ornament. The various 
of armour in this group are now thought h 
Flemish, presumably Antwerp, orlgin. This 
does not lack convictlon, since we know 
major armour decorating workshop existe: 
under the direction of Eliseus Libbaerts.Th1 
Lochorst, if spelt with the letter K, seems t 
Dutch rather than southern Netherlandish 
and a northern Netherlandish provenancec 
therefore, be ruied out'. 
The elements of armour listed above can 
tinguished from those decorated In the Lil: 
workshop on grounds both of quality anc 
They lack the expensive damascened dec: 
which constituted the final finish of the Lit 
group, seen on the detail from the saddie p 
the horse armour of King Eric XIV in fig. 7. F 
more, aithough the Libbaerts Workshop ln' 
ed in the frames of the inset medallion 
Flechtwerk and Rollwerk, the influence of D 
is always predomlnant, whereas this e 
group derives from prints by Antwerp m 
The Antwerp school cf armour decoration 
firmly associated with the name of Libbaei 
the second group, to which the drawing tha 
subject of this note belongs, has yet to be 
name. In view o1 the close relationship bi 
the pieces listed above and the presence o 
nature on one of them, it does not seem t 
onable to identify them as products of n 
horst workshop. Whether it was situated 
werp or further north must await further e 
tion in the archive of that city. 
Judging by its dimenslons, the Vienna 
wouid have been decorated with five appli 
quettes, a central oval one wlth a smallerc 
panel above and below and a very small ova 
on each side. The Iower half of the flanking 
can be seen on the drawing, but the upperc 
one would have been on the mlsslng top ha 
arrangement can be iound on the other st 
parade shields of Fontainebleau derivation 
ly those of Fvench origin, presumably m 
some French court workshop after Delat 
signs, those decorated at the Libbaerts wo 
and on one other shield in the Lochorst 
that in the Dresden Historisches MUSSUTU 
An alternative composition, with only a lan, 
tral panel, is found on French court wo 
shieids and on the Lochorst shield in the K 
.. .. __ __ m _m_ .t a... 1.,. 


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