Secrets of the Wallace: Gothic Equestrian Armour (c.1480)

David Edge, Head of Conservation at the Wallace Collection, talks to Tomas and Joseph about this amazing 15th-century German horse armour in all of its splendour. In this film, learn about the wearer of the armour and his rank in society in Renaissance Germany, as well as the role of armour on and off the battlefield.
This podcast is part of the 'Secrets of the Wallace' podcast series.
This Gothic Equestrian set is one of the amazing pieces of armour in the Wallace Collection, one of three complete sets of armour in the world. While the human armour has been refurbished, the horse armour remains complete.
Here is Thomas interviewing David Edge.
So can you tell us a little bit about when and where this was made?
Yes, it's armour that was made in Southern German, in Landshut. There is, in fact, an armourer's mark on the shaffron, the head piece of the horse. It's partly composite, so it wasn't necessarily made in the same place and at the same time. The saddle, for example, is a little bit later but, comprehensively, the armour was made about 1480-90. Armours of the 15th-century are extremely rare, this is one of only a handful of full 15th-century Gothic armours in the world.
Is this what a typical medieval knight would wear?
This is the very top end, though there is no such thing as a typical knight, this is a knight who had made it to the top.
It was bought from Castle Hohenaschau in the Austrian Tyrol, and probably the elements of the armour at least had been there ever since it was used. In which case it would have been worn by Count von Freyber, a very important noblemen. So this was the top, the Ferrari of the Renaissance and late Middle Ages
This armour is extremely ornate, what is the significance of that to the wearer?
Well it's at the top of fashion for the late 15th-century and that would explain its form. For example, you have these very long pointed toed sabaton, sabaton being the shoe. This was exactly the same as the fashion for civilian shoes at court, with long pointy toes. Fashions change of course and armour is, in a sense, clothes and so follows clothing fashions. And if we look at 1520,1530s armour at the back here, this shows exactly the same type of armour but the toes are blunt and bare pawed, as they are following civilian fashion.
So we can see that this is in the very top echelon of armour- it is following fashion very closely. And it is very ornate, there is flutting, cusp borders: pure German Gothic fashion.
How practical would this armour have been for the horse and rider?
It is designed as field armour, so it would impress, you could wear it in tournament and grand parades, but you could also fight in it. The amour for the man weighs 27 kilos, with that weight of armour you could dismount and mount from the ground, no need for cranes or step ladders! And you could have total mobility wearing this armour, you could fall and get up and even run! So for a fighting man it was designed for use on the field in war.
Thank you for your time.
If you would like to see this magnificent piece of armour, or any other pieces of armour, please come down to the Wallace Collection, in the European Amour Section and watch out for more podcasts!