J. F. Hayward
A Netherlandish design for a
parade shield
The draWing which torms the subjeot ot this note
was acquired about one hundred years ago by the
Museum for the modest sum of six Gulden; unfor-
tunately no information about Its provenance is
available, lt is executed in brown ink, helghtened
with blue wash, and shows the lower half of a
decorative shield in Mannerist style of the third
quarter of the sixteenth century (lig. 1). The draw-
ing was originally completed by an upper half
which is now lost, presumably destroyed. lt is now
stuck down on stiffer paper and has been cut both
at bottom and sides; as a result the point of the
shield and the upper edge on the sldes are lost.
Further, the drawlng shows no border, While the
decoration runs so olose to the edge that some
border would have been necessary. This may have
been cut away, but may have been omitted inten-
tlonally as it was not to be decorated. The drawing
is executed to the actual size of the shield,
measuring 39.8 crn. by 43 cm. Allowing for the
upper half and for the missing point, the dimen-
slons of the shield, If it were ever made, would
have been approximately 84 cm. by 46 cm. The
drawing is executed on two sheets of paperjoined
horizontally, a third would have been necessary
for the upper part of the shield. N0 Watermark can
be seen, as the drawing has been stuck down on
another sheet.
The design is lncomplete as blank spaces have
been left for the decoration ot four plaques, the
lower one circular, the upper oval, flanked by two
smaller ovalst These would on the completed
shield have been decorated with flgure subjects or
masks. Wrought separately, they would be attach-
ed to the shield by rlvets, as they are on the con-
temporary shield lllustrated in fig. 2. They were
probably left blank so that the cholce of subject
that deoorated them could be determined in con-
sultation with the eventual owner of the shield. An
alternative explanatlon is that their design was
lelt to a speclallst Who possessed the requisite
knowledge of classical history or mythology. The
faot that the sublects of the plaques are not
shown indicates that the design was a preliminary
one. lts relatively good state of preservation also
suggests that it was never used ln the Workshop.
We know from Thomas's investigations of the
drawings for armour lrom the Workshop of Etienne
Delaune" that the designs used by the armourer
when decorating his plates were executed in red
chalk and less oarefully finished. These designs,
which are preserved in the Staatliche Graphische
Sammlung, Munich, are approximately contempo-
rary With the Vienna drawing and represent anoth-
er aspect of the same northern Mannerist fashion.
A number of them have been identified by Thomas
as designs for armours of Henry ll, some of Which
were, hoWever, never executed on account of the
kingks premature death in 1559. In his studies of
the Delaune designs Thomas gives a detailed ac-
count of the serles of shields of oval, pointed or
oartouohe form connected with the French kingß.
Their composltlon ls fairly consistent and shows a
oentra! panel or panels within a wide border filled
With an interlaolng band enclosing trophies of
arms alternating With bunches ot frult, Interrupted
above and below by figures of manacled pris-
oners, While the centre point at iop and bottom is
marked by a grotesque mask. The composition of
16
1
the Vienna design follows this model. Two of the
Delaune drawings are particularly olose to this de-
sln, showing the same pointed proflle and the
decoration of trophles of arms alternatlng With
bunches of fruit, whlle at the base are figures
wlthln strapwork and a grotesque mask. One has
been identified by Thomas as a prelimlnary design
for a shield wrought for King Henri ll which is now
In the Metropolitan Museum, New Yorkt This
drawing shows the detalls of the ornament con-
talned wlthin a continuous interlacing strap or
band of Flechtwerk, Whereas in the second draw-
lng (tlg. 3) this band is rendered In higher relief
wlth Rollwerk termlnals. Rollwerk is also a feature
of the Vienna design, though the relief is less
marked and the scale smaller. Furthermore, ln place
of the puny nude prlsoners of the Munich draw-
lngs, the Vienna design shows Roman officers
whose hands and one foot are bound to the ends
of strapwork scrolls. Slmilar bound figures are to
be seen on some of the extant shields in the
French series, as, for instance the Skokloster
shieldä and it seems probable that the master of
the Vienna drawing drew his inspiratlon from an
actual shield rather than from one of the Munich
drawings.
Delaune's armour designs had considerable intlu-
ence outside the French court circle, in particular
in the city of AntWerp, where they were followed
by the goldsmith, Eliseus Libbaerts, who decorat-
ed two superb armours for Eric XIV, klng of Swe-
den, which after ourious peregrinatlons ended up
in the Historisches Museum, Dresden". The close
relationship with Delaune": designs, which adapt-
ed the Fontainebleau style to the needs of the ar-
mourer, is readily explicable, for numerous Ant-
werp graphic masters had Worked in Fontaine-
bleau and publlshed prints after the Fontaine-
bleau decorations on their return to thelr native
city. Libbaerts mostly adhered to the Delaune
manner, but sometlmes shoWed a preference for
the typical Netherlandlsh Rollwerk ornamen
er than the Flechtwerk which frames the
ment of the French armours. Libbaerts L
Rollwerk cartouches is most evident on the
armour he decorated for King Eric XIV of SVl
The style of the Vienna drawing, unlike tt
laune drawings, does not derive directly fron
talnebleau but rather from the Netherlandis
sion of that style. The Netherlandish origin
drawlng has long been recognised for, aroul
lower edge of the missing central panel is l
scription, presumably intended to pass as a:
ture: Col. Lart. The style of the lettering dOl
aocord with the apparent period of the dre
circa 1550 to 1580, and this attribution to th
werp family of engravers, Collaert, is unoo
ing. Whlle Hans Collaert and his son of the
name are best known as engravers of jewelle
signs, Adriaen Collaert (1560-1618) worke:
later manner than that exhibited in the Flollw
the Vienna drawing. The chief protagonlsts a
the Flemish masters of Mannerist ornamen
ed on Fontainebleau were Cornelis Flori:
Hans Vredeman de Vries, both ot AntWerpY.
absence ot positive evidence that either of
masters produced armour designs, it would l
wise to make a positive attribution to one 4
other. However, just as Etlenne Delaune w:
trusted With the designs for decorating tl
mours ot King Henri ll o1 France, so also is it
that a commission for work of comparable:
dour in the Netherlands would have gone tot
the leading masters of ornament or to a me
of his Workshop. While the Fiollwerk frarne
cartouches of the drawing are close to the
style, those of other Netherlandish armours.
ments of armour such as the shield (fig. 4) se
derlve from the engravings of Vredeman de
lt is not difficult to place the Vienna drawing
context; it clearly belongs to the group of an
of Flemish origin, of which only one bears a: