MAK

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

11 parade shield of empossed and chiselled steel. 
nish, third quarter oi 16"" cemury. Kunsthistori- 
es Museum. Waiiensammlung, Wien. 
f suit of parade armour, the backplate signed 
LG. LOCHORST FECITÄ Flemish, third quarter Of 
' cemury. Metropolitan Museum. New York. 
6 Moriun, embossed and chiselled steel. Third quarter o1 
16m century. Museum iür deutsche Geschichte, Berlin. 
7 Detail of embossed, chiseiled and damascened orna- 
ment on saddle plate of Eric XIV. Flemish, Eliseus Lib- 
baerts, third quarier o1 15'" century. Livrustkammar, 
Stockholm. 
rkungen 1 - 10 (Anm. 1 - 7 s. Text S. 16 u. 17) A 
a ovals are so small, nniy two cenhmaters in heigm, ihat 
may have been leh biank. 
omas, 'D1e Münchner Wailenvorzaichnungsn des Elxenne 
me und die Prunkschilda Heinrichs ll. von Frankreich. Jahre 
der Kunslhlslorischen Sammlungen m Wien. Band sa. 
p. 101 -1sa 
rigs. 93-111 
Ilg. 94 
5 Cedersiröm and Steneberg, Skoklosier Skdlden. Stockholm 
1945. pls. 1, 2 and 3 
' J. Schbbel, Prunkwaifen. Leipzig 1973,plS.14, 15 
Y R. Beriiner, Ornamentale Vorlagebläiter. Leipzig 1923,pis.1601o 
173 
' "The Erlangen Saddle Sfeel Plals Designs. Livrustkammaren, 
V0l.XlV,9,SlockhoIm1Q7B 
- Accordmg 10 Thlemeeßeckev lhe llsls o1 members o! lhe Frarer- 
mly 0151 Lukas m Amersloorl and o1 Alkmaar ieature m; name 
o! Lockorsi. 
1" Thomas. op cit. p. ms 
far been found on a Libbaerts one. The Vienna 
drawing is indeed so close to the Dresden shield 
(hat one is iempted to speculate whether it might 
be the original design, which was altered in cer- 
tain detaiis by the artist who execuied the embos- 
sed decoration. The placing of the scrollwork, the 
position of the prisoners, trophies of arms and 
bunches of fruit all correspond, but one can only 
come to the conclusion that the same artist must 
have been responsible for the Vienna drawing and 
the original design of the Dresden shield. All irace 
has been lost of anoiher shield from this same 
group. lt is depicted in the border of David Teniers' 
painting o1 the city of Valenciennes in the Musee 
des Beaux Arts, Antwerpg. The shield is shown on 
the left hand border cf the picture and forms part 
of a trophy of arms; it has a poinied base and the 
central panel is filled wiih an oval relief, perhaps 
represenling St. George and the Dragon, below 
which is a lion's mask in the same position as that 
on the Dresden shield. Shields such as these con- 
stitute a typicai expression of Mannerist fashion 
in armour. They were wrought of plate sufficiently 
thin to accept relief ornament of a fineness thal 
one expects to find only on contemporary gold- 
smiths' work. As a rule they accompanied a burgo- 
net helmet, as does the Dresden shield, but some 
would have formed part of a complete harness, 
and the Lochorst armour in New York was prob- 
ably originaliy accompanied by one such shield. 
Thomas has suggested that some of the shields 
from the French court workshop were not intend- 
ed to be carriedw, but were from the beginning 
meant to be hung on the wall, much as the vast sil- 
ver basins or dishes of the second half of the six- 
teenth century were meam to be sei upright on a 
sideboard as decorations. The contemporary 
shield, as used in battle, was circular in shape, 
whereas the the archaic kite-shape of these pa- 
rade shields, derived from the medieval form, re- 
flects their non-functional character. 
These shields had, however, an additional func- 
tion, namely that their ornament should in some 
way reflect the lustre o1 lheir bearer, or raiher cf 
the person before whom they were carried, for in 
practice they would be borne by a shield bearer. 
One important piece of information about this par- 
ticular drawing is iacking, namely the identity of 
the client for whom it was intended. Had the draw- 
ing included the design o! the embossed panels, 
this might have given some evidence on this point, 
but in its absence, his name must remain un- 
known. 

	        

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