burgonet helmet


A display of 16th and 17th century armour at the Burrell Collection in Glasgow.

The Burgonet is from either Germany or Italy and made in 1570. Helmets like this were often used by light cavalry as the open face allowed better visability upon the battlefield but provided little protection for the face.

The pauldrons are from Italy and were made in 1620. They were possible used by an officer in the Papal guard.

There is no information provided about the backplate.

Burgonet - Helmet. 1543. Filippo Negroli. Italian 1510-1579. steel, gold, textile. Metropolitan Museum of Art.    http://hadrian6.tumblr.com


1)Filippo Negroli and Brothers, Italian, c. 1510–1579, Armor of Emperor Charles V, Milan, 1539, embossed and gold- and silver-damascened steel; brass and leather, Patrimonio Nacional, Real Armería, Madrid.

Because of the decoration over the elbows, shoulders, and helmet, this armor is known as the “Mask Garniture.” (Garnitures are sets of armor with interchangeable parts that adapted the suit for use on horseback or on foot, in tournaments or on the battlefield.) It is the only suit of armor signed and dated by Filippo (in an inscription under the visor) and is thus considered the key work of the Negroli workshop. The exquisite damascening, a technique for inlaying the gold designs, is the work of Filippo’s talented seventeen-year-old brother, Francesco.

2)Philip II and the Royal Armory

The Royal Armory was created by Charles V’s son, Philip II, whose long reign as king of Spain lasted from 1556 to 1598. His wills stipulated that his collection could not be dispersed after his death, but should instead be handed down to his descendents. Philip’s great respect for his father and for the material and symbolic value of the emperor’s armor led him to purchase Charles’ collection, which had been slated for sale to pay off outstanding debts at the time of his death in 1558. Armor made for subsequent monarchs was later added to those two core collections.

Unlike arsenals, which keep weapons and armor to equip an army for battle, the Royal Armory includes trophies of war as well as armor received as diplomatic gifts or worn in pageants, parades, and tournaments. The process of decorating such armor, often by embossing or hammering the steel from the reverse to create designs in relief, weakened the metal. The armor is consequently more propagandistic than utilitarian, serving to impress viewers with its opulence and imagery extolling the wearer’s power, valor, and chivalry.

3)(left) Italian, 16th Century, Helmet (Burgonet) of Philip II, Milan, c. 1560–1565 embossed, gold- and silver-damascened steel, Patrimonio Nacional, Real Armería, Madrid

(right) Kolman Helmschmid, German, c. 1470–1532, Helmet (Burgonet) of Emperor Charles V, Augsburg, c. 1530, etched, embossed, and gold-damascened steel; fabric and leather, Patrimonio Nacional, Real Armería, Madrid.

4)Italian, 16th Century, Helmet (Burgonet) of Philip II, Northern Italy, c. 1560–1565, gold- and silver-damascened steel, fabric, Patrimonio Nacional, Real Armería, Madrid.

Ancient wars were a popular subject for Renaissance parade armor, as on this shield and burgonet (an open-faced helmet) depicting scenes from the Trojan War. The left side of the helmet shows the Judgment of Paris, the Trojan prince who declared Aphrodite the most beautiful goddess after she promised him Helen, wife of the king of Sparta. On the right side, Trojans tear down part of their city walls to make way for the huge Trojan horse in which Greek warriors were hidden. Paris’ abduction of Helen and the Greeks’ departure for Troy appear in the center of the shield.

5)Filippo and Francesco Negroli, Italian, c. 1510–1579 and c. 1522–1600, Helmet (Burgonet) of Emperor Charles V, Milan, 1545,embossed and gold-damascened steel, Patrimonio Nacional, Real Armería, Madrid.

This masterpiece of the Negroli workshop was made from a single sheet of steel that was hammered out from the underside in a technique known as embossing or repoussée (French for “pushed out”). A Turkish soldier with bound arms arches over the top of the helmet, while two female figures personifying Fame and Victory grasp his mustache. The scene symbolizes victory over Islam and Charles’ role as defender of the Christian faith. The inscription compares him to “Invincible Caesar.”


Burgonet helmet , 1543 Made by Filippo Negroli (ca. 1510–1579) Italian (Milan) Steel, embossed and damascened with gold.
This masterpiece of Renaissance metalwork is signed on the browplate by Filippo Negroli, whose embossed armor was praised by sixteenth-century chroniclers as “miraculous” and deserving “immortal merit.” Made from one plate of steel patinated to look like bronze, the bowl is raised in high relief with motifs inspired by classical art. The graceful mermaid forming the helmet’s comb holds the grimacing head of Medusa by the hair. The sides of the helmet are covered with acanthus scrolls inhabited by cupids, a motif probably derived from the Roman wall frescoes rediscovered in the Golden House of Nero.

Περικεφαλαία του1543. Κατασκευασμένη από τον Φιλίππο Νεγκρόλι (περίπου το 1510-1579), ιταλική (Μιλάνο) από ανάγλυφο ατσάλι δαμασκηνί, και με χρυσό.Αυτό το αριστούργημα της μεταλλοτεχνίας της Αναγέννησης υπογράφεται στην πινακίδα του φρυδιού από τον Φιλίππο Νεγκρόλι, του οποίου η ανάγλυφη πανοπλία εγκωμιάστηκε από τους χρονικογράφους του δέκατου έκτου αιώνα ως «θαυμαστή» “αθάνατης αξίας.” Φτιαγμένη από μια πλάκα από ατσάλι πατιναρισμένο να μοιάζει με χάλκινο, η λεκάνη ανέρχεται σε υψηλό ανάγλυφο με μοτίβα εμπνευσμένα από τον την κλασική τέχνη. Η χαριτωμένη γοργόνα που σχηματίζει η χτένα του κράνους κρατά το κεφάλι με τη μορφή της Μέδουσας από τα μαλλιά. Οι πλευρές του κράνους που καλύπτονται με ειλητάρια άκανθα κατοικείται από μικρούς έρωτες, ένα μοτίβο που πιθανότατα προέρχεται από Ρωμαϊκές τοιχογραφίες και τις ανακαλύπτουμε ξανά στο Χρυσό σπίτι του Νέρωνα.