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.
