Renaissance Dissident
Art History from a Different Perspective

Beaten Black and Blue

The Myth of the Medieval Knight in Shining Armour

Book on the original colour finishes of medieval arms and armour

Beaten Black and Blue
The Myth of the Medieval Knight in Shining Armour

A4 printed hardback, 322 pages, 376 illustrations.
Limited edition of 300 numbered copies.

This book has now sold out.

The very last orders for this book are now being processed and sent out. Very many thanks for all the positive feedback from readers. Your comments are much appreciated.

For those people who have unfortunately missed out on this book, please note that my next book, about the armour used in the Duchy of Savoy in the 15th century includes a chapter on the colours of armour and edged weapons in that region.

Imagine that the very foundations of what we believe about the appearance of Medieval and Renaissance armour and weapons turned out to be wrong. What if, in some periods, polished ‘white’ armour was rarely - if ever - used at all?

For centuries it has been assumed that Medieval and Renaissance European armour and edged weapons were generally very-highly polished ‘white’, and the use of coloured and hammer-finishes on armour was something that arrived around the end of the 15th century, and ran through until armour largely went out of use. I too, used to believe that, and it was only as I handled more and more of the real thing, and then carried out restoration work on it, that I began to find evidence of colour finishes everywhere, and when I say everywhere, I really do mean everywhere, and on early pieces. This book is the product of what I found hidden away underneath rivets and between the plates of that armour. It is full of photography which has never been published before, including pieces from private collections, although some of the biggest surprises will come from iconic pieces well-known to you already.

A nasal helmet with silver decoration, Southern European, probably early 10th century. Private collection.
A reconstruction of a sample of purple - peacock blue - armour by Chris Dobson.
A painted great bascinet by the Master T, Milan, c.1425-30. Private collection.
The famous armour of Friedrich the Victorious in the Kunsthistorisches Museum in Vienna.
A German gothic besagew with its original dark-grey finish.
The Triumph of Camillus by Biagio d’Antonio and Workshop.
Photos from the book, credits from left to right/top to bottom: anonymous, nasal helm with silver decoration, Southern European, probably early 10th century, private collection, photo © Chris Dobson; reconstruction of a piece of ‘peacock blue’ armour by Chris Dobson, photo © Chris Dobson; a painted great bascinet by the Master T, Milan, c.1425-30, private collection, photo © Chris Dobson; the famous armour of Friedrich the Victorious in Vienna (prior to restoration) photo © Chris Dobson; gothic besagew with dark-grey oxide finish, German, late 15th century, photo © Chris Dobson; The Triumph of Camillus by Biagio d’Antonio, Florence, c1475-80, photo © National Gallery of Art, Washington.

Sincere thanks are due to the museums and public bodies which have generously contributed photography for this book, including: The Bayerisches Nationalmuseum, Munich; the British Library, London; the Galleria Nazionale delle Marche, Urbino; the Diocese of Mantua; the Imperial Armoury, Kunsthistorisches Museum, Vienna; the Isabella Stewart Gardner Museum, Boston MA; the Metropolitan Museum of Art, New York; the Musée National de la Renaissance, Château d’Écouen; the Real Armería, Madrid; the Royal Armouries Museum, Leeds; the Soprintendenza Archeologia Belle Arti e Paesaggio per le Province di Alessandria, Asti e Cuneo.

Contents:
Introduction
A detailed examination of artistic techniques from the Middle Ages to the Baroque, explaining how armour and weapons were actually depicted by artists, and how artworks may have discoloured, if at all.
1. Mantua, Holy of Holies
The story of the consequences for the armours now in the Museo Diocesano in Mantua, following the intervention of an English antiquarian in 1937.
2. “What’s in a Name?”
Analysis of period descriptions of armour and weapons from documents and inventories from the 17th century back to the 14th century, compared with evidence of colour finishes on surviving pieces.
3. “through a glass, darkly”
The truth about ‘russet’ armour and weapons. Description of the ‘russeting’ technique. Surviving Italian and German armour and weapons given this finish. The ‘AVANT’ armour.
4. Black from the Hammer and Blackened
Hammer-finished and blackened surfaces. The different levels of quality of hammer-finished pieces. Description of the blackening technique for iron and steel. Early surviving examples.
5. Midnight Blue
Evidence of dark-blue colour oxide finishes. Description of how the colour finish is obtained. A surviving 14th century barbuta. The Imperial ceremonial sword of Frederick II.
6. Botticelli Blue
Pale-blue colour oxide finishes. Description of how the colour finish is obtained. The ‘AVANT’ armour. Friedrich the Victorious. A 14th century German barbuta.
7. Sanguine, Peacock Blue and Bronzed
Iridescent colour-oxide finishes. Different names for the same finish in different countries and at different times. Description of how the peacock-blue finish is obtained. The Helmschmid workshop.
8. A Touch of Colour
Painted armour. The influence of heraldry. Cuir bouilli armour. ‘Black sallets’.
9. Covered or Uncovered?
Textile and leather-covered armour. Examples of period textiles. The Munich breastplate. Tournament pieces and armoured clothing.
10. White Armour: “the armour of light”
Period descriptions of polished ‘white’ armour examined in context. Interpreting ‘white’ armour in art: the Berruguete portrait of Federico da Montefeltro. Silvered and tinned armour.
11. “everywhere the glint of gold”
Examples of gilded armour. Conrad Seusenhofer and the ‘Gift Armour’ of Henry VIII. Detailed explanation of the mercury-gilding technique.
Conclusion
The legend of ‘the knight in shining armour’. The reality of Medieval and Renaissance armour and edged weapons. Implications for arms and armour used in the Classical World.
Appendix:
Temperature charts.

You can download a leaflet about the book by clicking here.

The Imperial ceremonial sword of the Emperor Frederick II, with a midnight blue blade with white cutting edges.
The Archangel Michael by Simone Martini, c.1320-25.
A Venetian sallet by the unidentified ‘Master A’, Florentine, c.1475.
Tarquinius Priscus Entering Rome, by Jacopo del Sellaio, Florence c.1470. Cleveland Museum of Art.
A hammer-finished tourney or foot-combat helm, South Germany or Austria, c.1450-75. Private collection.
A painting of Saint George and the Dragon by Bernat Martorell, c.1434-35.
Photos from the book, credits from left to right/top to bottom: the Imperial ceremonial sword of Frederick II, before 1220, midnight blue blade with white cutting edges, photo © Kunsthistorischesmuseum Vienna; Simone Martini The Archangel Michael, Siena, 1320-25, photo The Yorck Project Gesellschaft für Bildarchivierung GmbH (GNU Free Documentation Licence); the ‘Master A’, Venetian sallet with grey oxide finish, Florence, c.1475, photo © Chris Dobson; Jacopo del Sellaio Tarquinius Priscus Entering Rome (detail), Florence, c.1470, photo © The Cleveland Museum of Art; anonymous, hammer-finished foot combat or tourney helm, South Germany, possibly Austria, c.1450-75, private collection, photo © Chris Dobson; Bernat Martorell Saint George and the Dragon, c.1434-35, photo © Art Institute of Chicago.
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