COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1996.299
amicoid
CMA_.1996.299
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Name:
Cesa, Pompeo della
crn
Cesa, Pompeo della
Creator Name
false
Creator Nationality:
European; Southern European; Italian
crc
European; Southern European; Italian
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1727 - 1788
cdt
1727 - 1788
Creator Dates/Places
false
Biography:
Pompeo della Cesa was the most renowned Italian armorer of the late 16th century. His clients included some of the most celebrated noblemen of their day--the two Spanish kings Philip II and III; Alessandro Farnese, Duke of Parma and Piacenza; and Vincenzo I Gonzaga, Duke of Mantua. He is known to have maintained a large workshop in Milan's castle--the so-called Sforza Castle. The original owner of this armor remains unidentified. However, armors made for patrons of noble rank were typically of very high quality like this one. Ostentation was of paramount importance for public spectacles such as tournaments or parades. Most wealthy patrons afforded the additional expense of embellishing their armors. The most frequently used decorative technique for armor was etching, seen here, in which acid was used to 'bite' into exposed surfaces of the armor's steel plates to create permanent patterns. The etched and gilded decoration of this armor features vertical bands of strapwork enclosing cartouches which in turn contain allegorical figures, classical warriors, and trophies. The decoration represents Pompeo's classic style of armor decoration, one which is found on over forty surviving suits. These and other decorative patterns were normally recorded in pattern books from which the prospective client made his selections.
crb
Pompeo della Cesa was the most renowned Italian armorer of the late 16th century. His clients included some of the most celebrated noblemen of their day--the two Spanish kings Philip II and III; Alessandro Farnese, Duke of Parma and Piacenza; and Vincenzo I Gonzaga, Duke of Mantua. He is known to have maintained a large workshop in Milan's castle--the so-called Sforza Castle. The original owner of this armor remains unidentified. However, armors made for patrons of noble rank were typically of very high quality like this one. Ostentation was of paramount importance for public spectacles such as tournaments or parades. Most wealthy patrons afforded the additional expense of embellishing their armors. The most frequently used decorative technique for armor was etching, seen here, in which acid was used to 'bite' into exposed surfaces of the armor's steel plates to create permanent patterns. The etched and gilded decoration of this armor features vertical bands of strapwork enclosing cartouches which in turn contain allegorical figures, classical warriors, and trophies. The decoration represents Pompeo's classic style of armor decoration, one which is found on over forty surviving suits. These and other decorative patterns were normally recorded in pattern books from which the prospective client made his selections.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Pompeo della Cesa
crt
Pompeo della Cesa
Creator Name-CRT
false
Title:
Half Armor for the Foot Tournament
otn
Half Armor for the Foot Tournament
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1590
oct
c. 1590
Creation Date
false
Creation Start Date:
1580
ocs
1580
Creation Start Date
false
Creation End Date:
1600
oce
1600
Creation End Date
false
Materials and Techniques:
steel, brass, leather and velvet
omd
steel, brass, leather and velvet
Materials and Techniques
false
Classification Term:
Armor
clt
Armor
Classification Term
false
Classification Term:
Arms
clt
Arms
Classification Term
false
Classification Term:
Arms
clt
Arms
Classification Term
false
Dimensions:
unmeasured
met
unmeasured
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1996.299
ooa
1996.299
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
This armor was designed specifically for the foot tournament, a separate event from the equestrian jousts popularized during the Middle Ages and still highly favored among Renaissance aristocracies throughout Europe. Increasingly, these friendly combatson foot evolved their own rules of engagement as well as armor configuration. As they were commonly fought over a barrier which separated the combatants and gave protection to their legs, a half-armor such as this one provided sufficient protection. Theoriginal owner of this suit would have worn it with colorful puffed and slashed britches and hose. The use of colorful accessories such as a large ostrich feather plume (a brass plume holder may be seen on the back of the helmet) and red velvet pecadilsbetween the steel plates would have provided for additional sartorial splendor.
cxd
This armor was designed specifically for the foot tournament, a separate event from the equestrian jousts popularized during the Middle Ages and still highly favored among Renaissance aristocracies throughout Europe. Increasingly, these friendly combatson foot evolved their own rules of engagement as well as armor configuration. As they were commonly fought over a barrier which separated the combatants and gave protection to their legs, a half-armor such as this one provided sufficient protection. Theoriginal owner of this suit would have worn it with colorful puffed and slashed britches and hose. The use of colorful accessories such as a large ostrich feather plume (a brass plume holder may be seen on the back of the helmet) and red velvet pecadilsbetween the steel plates would have provided for additional sartorial splendor.
Context
false
Related Image Identifier Link:
CMA_.1996.299.tif
ril
CMA_.1996.299.tif
Related Image Identifier Link
false