Renaissance Dissident
Art History from a Different Perspective

Kunz Schott, Death and the Devil

Nuremberg Armour and the Art of Albrecht Dürer

PDF article comparing the armour of Kunz Schott von Hellingen and the art of Albrecht Dürer, by Chris Dobson.

Kunz Schott, Death and the Devil
Nuremberg Armour and the Art of Albrecht Dürer

A4 Format PDF, 19 pages,
20 colour illustrations, 300 dpi print-quality

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© Copyright Chris Dobson 2022
Published under the Creative Commons 4.0 Non-Commercial, Non-Derivative Licence:
(CC BY-NC-ND 4.0)

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The harness which has come to be known as ‘the armour of Kunz Schott von Hellingen’ is widely believed to be homogenous, and the personal armour of that historical figure. I worked on that armour in 1997, and in fact it is a composite armour built up over five centuries, and notwithstanding the presence of the Schott arms on the breastplate, evidence of personal ownership of any of the elements by Kunz Schott himself is lacking. However, it is an intriguing puzzle, and comparison with artworks by the renowned Nuremberg artist Albrecht Dürer, contemporary with the manufacture of much of the armour, demonstrates that even if not homogenous (although some pieces do undoubtedly belong together), the armour is nonetheless important, and worthy of study.

Painting of Saint George from the Paumgartner altarpice, by Albrecht Dürer
A ‘black sallet’ in the Wallace Collection, London, circa 1500.
The armour traditionally thought to have belonged to Kunz Schott von Hellingen.
Photos from the article, left to right/top to bottom: Albrecht Dürer Saint George, photo: Alte Pinakothek, Munich (CC BY-SA 4.0); anonymous, ‘black sallet’, photo: © Copyright Trustees of the Wallace Collection (CC BY-NC-ND 4.0); anonymous, cuirass of the ‘Kunz Schott’ armour, photo: © Copyright Chris Dobson.

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