A Late Fourteenth-Century Transitional Kettle-Hat Found in London

Notes

• Kidd D, 1977 Charles Roach Smith and his Museum of London Antiquities. In: Collectors & Collections, the British Museum Yearbook 2, (pp.105–135). British Museum Publications Limited, London, United Kingdom.
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• Kidd 1977: 108. Smith, C. R., Annotated printed catalogue, with manuscript additions, (two volumes), Department of Prehistory and Europe archives, British Museum (unpublished).
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• Following this entry is a hand-written note: ‘H.8 W.11¼. L. of helmet + chain 2ft 2. comp. (compare) exp. (example) helmets arch. (archaeological) society journal No.98’. This note is likely to post date the 1856 acquisition as ‘No.98’ corresponds to the number designated to a kettle-hat included in the exhibition ‘Ancient Helmets and Examples of Mail’ held at The Royal Archaeological Institute in 1880 de Cosson, C. A. and Burges, W., 1881 Ancient Helmets and Examples of Mail — A Catalogue of the Objects. The Royal Archaeological Institute, London, Fig. 98.
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• Cherry B, Pevsner N, 1983 The Buildings of England: London 2: South. Penguin Books, UK, 73–74, 603. An area of ‘slum housing’ was demolished and the area cleared in order to facilitate construction of the Southwark terminus (London Bridge Station).
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• Cherry and Pevsner 1983: 557. London Bridge remained the only bridge across the Thames until the mid-18th century.
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• Bacinet: An open-faced helmet with a globular or conical skull enclosing the sides of the face and neck. Usually worn with an aventail (curtain of mail attached around the base of the helmet) and occasionally a visor.
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• Other derivatives of the term ‘chapel-de-fer’ include; chepel-de-fer, capell-de-ferro (Italian derivative), chapel, chapeau-de-fer, chapel d’acier, chapel doré, chapawe/shapewe (15th/16th century English derivative), chapeau monteauban and chapeaux de montauben. Helmets, likely to be kettle-hats, described as ‘capiaus’ are found amongst the inventory of goods belonging to Raoul de Nesle, constable of France, killed in Courtrai in 1302 (Norman, A. V. B., 1972 Arms and armour. Reprint: Octopus Books Limited, London, 15). In English the (modern) German term ‘Eisen hut’ (iron hat) is also occasionally used in reference to the kettle-hat.
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• Blair C, 1958 European Armour, circa 1066 to circa 1700. B. T. Batsford Ltd, London, England, 31–32 and Laking, G. F., 1920–22 A record of European armour and arms through seven centuries, (five volumes). Bell, London, Vol. II, 57.
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• Samples of the metal were analysed by Janet Lang (emeritus researcher in the Department of Conservation and Scientific Research at the British Museum) (results of analysis by Lang in Hood, J., Dyer, J., Lang, J., and Ambers, J., 2011 Defence and decoration: new findings on a mid-tolate fourteenth century ‘kettle-hat’ helmet found in London. In: The British Museum Technical Research Bulletin, volume 5, ed. D. Saunders. Archetype Publications Ltd., London, pp. 73–80). The metallurgical structures clearly showed that the helmet was made from bloomery iron which did not appear to have been carburised. The metal was a low carbon iron; however, as a result of cold working, the metal was harder than might be expected from the composition.
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• When describing the helmet throughout the text the terms ‘left’ and ‘right’ are from the point of view of its wearer not the observer.
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• However, the occurrence of cheek pieces in the late fourteenth century is unlikely. An example of a kettle-hat depicted with narrow cheek pieces, or possibly a plate-covered chinstrap, can be found in Giovanni Bellini’s (active c. 1459–d.1516) ‘The Assassination of Saint Peter Matryr’ (c. 1507) in The National Gallery, London (Object Number: NG.812). This same depiction is referred to by de Cosson and Burges (1881: 82), but it is inaccurately attributed to Giorgione (c. 1477/8–1510). Interestingly, in another closely comparable version of the same painting, dated to 1509, held in the Courtauld Gallery collection, London (acquired through the Lee Bequest, 1947), the kettle-hat worn by the same figure is almost identical but the cheek-pieces are replaced by a conventional chinstrap (Pallucchini, R., (Translated from the Italian by R. H. Boothroyd) 1962 Giovanni Bellini. William Heinemann Ltd, London, 163, Figs. 225–227). Although the composition of this example is closely related to the piece in the National Gallery, subtle differences between the two have lead to the suggestion that the Courtauld Gallery’s painting was made in Bellini’s workshop under the master’s direct supervision. Such deletion of minor details suggests that it may have been equally as common to encounter kettle-hats with cheek-pieces as without.
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• A kettle-hat with globular or bell-shaped skull dating to the fifteenth century in the Amsterdam Historisch Museum (Object Number: ML3–5) has a staple attached underneath the back of its brim. The holes in the brim, through which the staple is attached, are of a similar diameter and distance apart to the notches in the tail-piece of the British Museum kettle-hat. Early articulated tail-pieces, not to be confused with integral articulated neck lames, are more usually associated with the sallet. An extremely early depiction, of what appears to be an articulated tail-piece can be seen protruding from the back of an early Italian sallet worn by a figure in the far-left foreground in one of the panels of the silver alter-piece in Pistoia Cathedral, dating to c. 1376 (See above). In addition to depictions of sallet-tails featuring on Flemish tapestries, examples from an English context can be found illustrated in the Beauchamp Pageants, dating to c. 1485–95 (British Library, Cotonian MS., Julius E. iv.).
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• Hood et al. 2011.
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• Results of analysis by Dyer and Ambers in Hood et al., 2011.
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• Results of analysis by Dyer and Ambers in Hood et al., 2011.
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• Results of analysis by Lang in Hood et al., 2011.
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• Böhner K, 1994 Die frühmittelalterlichen Spangenhelme und die nordischen Helme der Vendelzeit, Jahrbuch des Römisch-Germanischen Zentralmuseums Mainz, 41(2): 471–549, Abb. 39, 41, 1 and 42, 4, Blair 1958: 32, 52 and 199, Fig. 91 and Nickel, H., 2002 The mutual influence of Europe and Asia in the field of Arms and Armour, in: A companion to medieval arms and armour, ed. by D. Nicolle. The Boydell Press, Woodbridge, UK, Part three, X, pp. 107–126, 112–114. A prominent example of this method of construction can be encountered in the high relief carving of ‘the guards at the holy sepulchre’ (German, c. 1250–1300, in situ inside Easter Sepulchre, Minster, Konstanz) (Von Hefner-Alteneck, J. H., 1903 (Reprint: Graz, 1969 and (in abbreviated form) Dover, Publications, Inc., New York, 2004) Waffen, Ein Beitrag zur Historischen Waffenkunde. Frankfurt, Germany, 12, Nicolle, D., 2002 Jawshan, cuirie and coats-of-plates: An alternative line of development for hardened leather armour, in: A companion to medieval arms and armour, ed. by D. Nicolle, The Boydell Press, Woodbridge, UK, Part three, XIII, pp. 178–221, Plate XIII-29a) and in the pages of the ‘Pierpoint Morgan Picture Bible’ (refer to Note 36).
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• Blair 1958: 52.
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• An example of a, now lost, kettle-hat with a tall pointed countercurved skull, akin to the ogival bacinet, was once preserved in the former imperial Ottoman arsenal, Istanbul (Pyhrr, S., 1989 European armor from the imperial Ottoman arsenal, The Metropolitan Museum Journal, 24, 85–116, The Metropolitan Museum of Art, New York, 91–92, 113–114 (notes 23), Fig. 12.).
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• Spufford P, 2002 Power and profit; the merchant in medieval Europe, Thames & Hudson Limited, London, 129.
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• ffoulkes CJ, 1912 (Reprint: 1988) The Armourer and his Craft from the XIth to the XVIth Century. Methuen & Co. Ltd., London, UK (Reprint: Dover Publications, Inc., Mineola, USA), (rp. 1988): 71, 169–170.
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• Nicolle 2002: 217–218, Plate XIII-33a–b.
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• Boutell C, 1847 Monumental brasses and slabs: An historical and descriptive notice of the incised monumental memorials of the middle ages. London. 45–47, Blair 1958: 70. This memorial brass, in situ at Elsing church, Norfolk, England, is the only known example that depicts a kettle-hat. However, there is some debate as to whether Almeric wears a true kettle-hat over a tight fitting bacinet or cervelliére (a practice more commonly associated with wearing of the great helm), or whether it is hybrid form of long sided bacinet with an encircling brim. This depiction is also of note for showing a helmet worn in conjunction with an early form of bevor (Laking 1920–22: Vol. II, 60–61, Fig. 413 and Clayton, M., 1915 (Reprint: 1979) Catalogue of Rubbings of Brasses and Incised Slabs. Victoria and Albert Museum, Her Majesty’s Stationery Office, London, (r.1979): 15–16, Plate 4).
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• For other examples of kettle-hats with short stout combs see examples in the Holkham Bible Picture Book of English workmanship, c. 1327–1335 (British Library, Add. MS. 47682, f.40) (See: Porter, P., 2000 Medieval warfare in manuscripts, The British Library, London, 4).
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• Personal communication, Thom Richardson, Keeper of Armour and Oriental Collections, Royal Armouries, Leeds (27·10·2010). (For a roughly contemporary English context comparison to the ‘gilt iron kettle-hat with an embossed silver border’ described in the Tower inventories refer to Note 30).
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• This can be clearly seen in the aforementioned examples rendered on the c. 1250–1300 figures in the Easter Sepulchre, Minster, Konstanz (refer to Note 18). For a later example of a German kettle-hat, dating to the sixteenth century, stamped with an Augsburg armourers guild mark, which shows the continuation of the same style, with a defined medial ridge and wide sloping brim see the example preserved in the Wallace Collection (Object Number: A86) (Mann, J. G., 1962 European Arms and Armour, Text with Historical notes and illustrations, (2 Volumes, Vol. I: Armour, Vol. II: Arms). Wallace Collection catalogues, London, Vol. I, 103, Plate 57 and Norman, A. V. B., 1986 European Arms and Armour Supplement, Wallace Collection Catalogues, London, 45).
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• For two examples of Iberian kettle-hats shown in secondary sources see de Riquer Morera, M., 1968 L’arneÌs del cavaller: Armes i armadures catalanes medievals, Barcelona, Ariel, Figure 102 (depicting a kettle-hat featuring on the fourteenth century gate of Pamplona cathedral, Spain) and Figure 108 (depicting a kettle-hat featured on the tomb effigy of a knight of the Order of Saint John dating to c. 1350–1400, from the Church of St Francis, Vilafranca del Penedés, Spain).
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• A rare example of a painted ‘Spanish style’ Venetian cabacete dating to c. 1600 which demonstrates the continued development of polychromy on armour is preserved in the Wallace Collection, London (Object Number: A150). Its decoration consists of the lion of St Mark in yellow and brown paint on the right side, a blue quatrefoil on a parti-coloured background of green and yellow on the right side and the representation of a plume painted in white. Mann (1962) and Norman (1986) mention similarly painted cabacetes in the collections of the Museo Civico Correr, Venice, The Metropolitan Museum of Art, New York (Object Number: 14·25·636) and the Hermitage Museum, Saint Petersburg (Object Number: Z.O.No.3418). (Mann 1962: Vol. I, 128 and Norman 1986: 56).
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• Fleury M, Kruta V, 1987 Le casque de charles VI deécouvert dans la Cour Carée du Louvre, restauré à Nancy, Archaeologia 230: (Dec 1987) 18–24, Fleury, M., 1988 La resurrection du casque brisé de Charles VI, Connaissance des Arts, September 439: 150–58 and Fleury, M., 1989 King Charles VI’s golden helmet, Apollo, 129·328 (June), 409–411. Although the Louvre kettle-hat is extremely ornate and can be classed as an example of a parade helmet, Henry of Lancaster’s (1366–1413, the future Henry IV, r. 1399–1413) gold-smiths accounts for the year 1397–8 record that ‘sixteen silver gilt lilies for decorating one kettle-hat’ were ordered; at the sum of £15 9s 10d (The National Archives, Kew, DL 28/1/6 fol.22r/23v). Another highly decorative gilt(?) kettle-hat featuring an applied crown, decorative bosses and rivet heads is depicted on the predella of an altarpiece in Barcelona cathedral, painted between 1462 and 1465 (de Riquer Morera 1968: Fig 206).
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• Ross C, Clark J, (eds.) 2008 London; the illustrated history. Penguin books Ltd, London, England, 77.
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• I am grateful to Dr Tobias Capwell, curator of Arms and Armour, The Wallace Collection, London, for discussion on this point.
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• de Riquer Morera 1968: Figs. 7, 8, 10.
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• Depictions of red and blue coloured great helms worn by ‘Soldiers guarding the body of San Geminianus during the ceremony of its Translation in Modena on 8th October 1106’, Italian manuscript, c. 1180–1220 (Biblioteca Capitolare, Cod, O.II.11, Modena, Italy).
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• For example see: de Riquer Morera 1968: Figs. 30, 41, 42 and Plates II and III.
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• Cockerell SC, James MR, ffoulkes CJ, 1927 A Book of Old Testament Illustrations of the Middle of the Thirteenth Century sent by Cardinal Bernard Maciejowski to Shah Abbas the Great, King of Persia, now in the Pierpont Morgan Library at New York. University Press, Cambridge. The ‘Pierpoint Morgan Picture Bible’ — Old Testament miniatures with Latin text and later additional inscriptions in Persian, and Judeo-Persian, France, Paris, c. 1240s, Morgan Library, New York — Shelfmark: MS M.638. Some prominent examples of coloured helmets depicted in medieval manuscripts in the British Library collection are listed here for comparison (in chronological order). Depictions of blue, red, yellow and striped great helms from a translation of William of Tyre’s ‘History of the Crusades’, French manuscript, c. 1250–60 (British Library, Yates Thompson MS 12, f.40v). Depictions of white, blue and green painted great helms and kettle-hats in a book of prose ‘Tristan’ in French, Naples, c. 1300 (British Library, Harley MS 4389, f.26). Depictions of red and yellow globular shaped bacinets in a Les Grandes Chroniques de France, French manuscript, 1325–1350 (British Library, Royal MS 16 G VI, f.74 and f.345). Depictions of red/brown (however this may represent a russet finish) coloured kettle-hats in the Holkham Bible Picture Book, English manuscript, c. 1327–1335 (British Library, Add. MS 47682, f.40).
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• Sekules V, 1987 Catalogue entry contributions in; Age of Chivalry: Art in Plantagenet England 1200–1400, eds. J. J. G. Alexander and P. Binski, Royal Academy of Arts, London in association with Weidenfeld and Nicolson, London, 527–528.
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• St John Hope WH, 1914 The Funeral Monument and Chantry Chapel of King Henry the Fifth, Archaeologia, LXV: 129–86, Laking 1920–22: Vol. II, 99–102. The helm associated with the tomb of Henry V (displayed in Westminster Abbey Museum) does not appear to have any trace of a painted surface remaining. A possible example of another helm dating to the third quarter of the 14th century that may once have had evidence for medieval polchromy is the great-helm of Sir Richard Pembridge (d.1375). The helm, displayed above Sir Richard’s tomb in Hereford Cathedral from the time of his death, passed into the Samuel Meyrick collection in 1828 then the Noël Paton collection before being eventually acquired by the Royal Scottish Museum, Edinburgh (Object Number: 1905·489) (Lowe, R., 2003 Sir Samuel Meyrick and Goodrich Court, Logaston Press, Herefordshire, England, 101–102). The ‘Pembridge helm’ is recorded as once having had ‘three thick layers of oil paint’ applied to its front (de Cosson and Burges 1881: 67–69). When the areas of paint were removed in 1872 the metal below was found to be in an excellent state of preservation when compared to the oxidised patina of the remaining surface. Although these, now lost, ‘layers of paint’ may have been applied at a later date the condition of the metal suggests it was already protected when corrosion occurred on the rest of the helm. Therefore it is likely that the ‘paint’ was applied prior to or for the helms deposition as a funerary achievement and so represented surviving medieval decoration.
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• Red and white paint is a feature of the overall decorative scheme on an Italian sallet all’antica in the form of a lion head dating to c. 1475–80 preserved in the Metropolitan Museum of Art, New York (Object Number: 23·141). Polychrome decoration survives on approximately nine helmets from two distinct groups of sallet that date to between c. 1490 and 1510. The decoration on these helmets, dating to approximately a hundred years later than the British Museum kettle-hat, is far more stylised and complex. Three examples with polchromy are of the so-called, ‘horseman’s’ or, more commonly, ‘black’ sallet type (named because they were supplied rough and black from the hammer), made in Germany and dating to c. 1490. Examples survive in the Royal Armouries Museum, Leeds (Object Number: IV.12) (Dufty, A. R. and Reid, W. 1968 European armour in the Tower of London, Her Majesty’s Stationery Office, London, Plate LXXIX-d.) and the Hofjagd-und Rüstkammer of the Kunsthistorisches Museum, Vienna (Inv. No. A3) (Laking 1920–22: Vol. I, Fig. 216, Vol. II, 33). A third example was offered for sale on the London fine art market in 2001 (Scott-Edison, P. and Wallace, J., eds. 2001 Peter Finer (catalogue), Raithby, Lawrence & Company Ltd, United Kingdom, 42–45). Six other sallets with surviving polychromy are of the so-called ‘owl-faced’ form (typified by having a flat pivoting visor with horizontal slits for the sights and breath), made in Germany and dating to c. 1500–1510. Examples from this group are preserved in the Wallace Collection, London (Object Number: A82 — with the visor painted in the form of a grotesque/monstrous face), the Bayerisches Nationalmuseum, Munich (Object Number: W230 — decorated with a lion’s face), the Germanisches Nationalmuseum, Nuremberg (Object Number: W1922 — decorated with the arms of Regensburg). A fourth example of a slightly different form of ‘owl-faced’ sallet with polychromy, in the Philadelphia Museum of Art, and a fifth, in the private collection of R. T. Gwynn, are mentioned by Mann and then by Norman (Mann 1962: Vol. I, 101, Plate 56 and Norman 1986: 44). A sixth black-painted ‘owl-faced’ sallet resides in Glasgow Museums collection (Object Number: A.1976·27.K) (See Capwell, T., 2007 The Real Fighting Stuff: Arms and Armour at Glasgow Museums. Glasgow City Council, Glasgow, Scotland, 40, Fig. 5·1), although this, and parts of an associated armour painted in a similar way, may have been rendered at a later date to mimic a lost rough and black from the hammer finish. For a short period at the end of the sixteenth century it was fashionable in France for armour to be painted in order to mimic contemporary ceremonial dress. A prominent rare surviving example of this French painting technique is the half-armour and matching shaffron, dating to c. 1590, decorated to suggest embroidery with red, black, green and gold polychromy, in the Museé de l’Armée, Paris (Object Number: G.Po.547.A–L). On so-called ‘black and white’ armours, all of which date to the sixteenth and seventeenth centuries, bands of the bright metal substrate were left unpainted to create a decorative feature by breaking up the black painted surface. For discussion on the wider use of black paint to provide a corrosion-resistant finish from the fifteenth century onwards see Blair (1958: 172–173).
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• I am grateful to Thom Richardson, Keeper of European and Oriental armour, Royal Armouries Museum, Leeds for drawing my attention to this depiction.
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• Sallet: A light helmet of varying forms; usually flaring over the nape of the neck and often worn with a visor and/or a bevor.
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• An example of this in England is the kettle-hat worn by Almeric, Lord St Amand, in the framing panel of the brass commemorating Sir Hugh Hastings (d.1347) (Discussed in relation to the wear of kettle-hats in England — refer to Figure 6). This feature has been discussed, amongst others, by de Cosson when describing a kettle-hat, dated to 1475–1500, he suggested that the ‘holes round the head-piece… show that the lining extended to the edge of the brim’ (de Cosson and Burges 1881: 82).
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• However, owing to the increased potential for oxidation of the metal polishing would create a less appropriate surface for the application of a paint layer than one left rough and black from the hammer. That the group of sallets with polychromy, dating to between c. 1490 and 1510 (see Note 40), are likely to have been supplied rough and black from the hammer is not only a contributing factor for the applied surface having survived but may also suggest that they were originally intended to feature decoration.
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• There are numerous examples, for two such typical descriptions see: de Cosson and Burges 1881: 18–19, or Norman 1972: 35.
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• One possible German intermediary is the so-called ‘schallern’ (from the word ‘schale’; meaning shell) which emerged in the first half of the fifteenth century, and only differed from the bell-shaped kettle-hat in that its brim was deeper and cut with a sight.
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