Jeffrey L. Forgeng - Pietro Montes Collectanea: The Arms, Armour and Fighting Techniques of a Fifteenth-Century Soldier (6) (Armour and Weapons)

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Pietro Montes
Collectanea

Pietro Montes Collectanea is a wide-ranging treatise on the arts of knighthood, focusing on martial arts, athletics, arms and armour, and military practice, but touching on subjects as diverse as diet, zoology and the design of life preservers. Monte, a courtier, soldier and scholar who won the respect of men like Leonardo da Vinci and Baldesar Castiglione, wrote the work in Spanish in the late 1400s, and later produced an expanded Latin translation. The Latin version, published in Milan in 1509, forms the basis of this translation.

Monte describes the techniques of personal combat with various weapons, including the two-handed and one-handed sword, pollaxe, and dagger, as well as wrestling, armored and mounted combat. He also documents the athletic activities used by knights to hone their physical abilities: running, jumping, throwing, and vaulting. Finally, the Collectanea is the sole medieval text to provide extensive discussion of the design of arms and armour.

This translation includes an illustrated introduction to Monte and his technical subject-matter, as well as a translation of Book 5 of Montes De Dignoscendis Hominibus (1492), which overlaps much of the technical content of the Collectanea .

Jeffrey L. Forgeng is curator of Arms and Armour and Medieval Art at the Worcester Art Museum, and teaches as Adjunct Professor of History at Worcester Polytechnic Institute.

Armour and Weapons
ISSN 1746-944
Series Editors
Kelly DeVries
Robert W. Jones
Robert C. Woosnam-Savage

Throughout history armour and weapons have been not merely the preserve of the warrior in battles and warfare, but potent symbols in their own right (the sword of chivalry, the heraldic shield), representing the hunt and hall as well as the battlefield. This series aims to provide a forum for critical studies of all aspects of arms and armour and their technologies, from the end of the Roman Empire to the dawn of the modern world; both new research and works of synthesis are encouraged.

New proposals for the series are welcomed; they should be sent to the publisher at the address below.

Boydell & Brewer Limited,
PO Box 9, Woodbridge, Suffolk, IP12 3DF

Also in this series:

The Artillery of the Dukes of Burgundy , 13631477
Robert Douglas Smith and Kelly DeVries

`The Furie of the Ordnance: Artillery in the English Civil Wars
Stephen Bull

Jousting in Medieval and Renaissance Iberia
Noel Fallows

The Art of Swordsmanship by Hans Leckchner
translated by Jeffrey L. Forgeng

The Book of Horsemanship by Duarte I of Portugal
translated by Jeffrey L. Forgeng

Contents

Illustrations

Plates appear between pages 152 and 153

. Paolo Uccello, Niccol Mauruzi da Tolentino at the Battle of San Romano , c. 143840 ( The National Gallery, London).

. The Battle of El Puig, from the Altarpiece of St. George ( Retablo de San Jorge ), by Berenguer Mateu, 143031 (Jrica, Museo Municipal de Jrica).

. Lucas Cranach the Elder (German, 14721553), The Third Tournament with Lances , 1509 (Worcester Art Museum, MA, Museum Purchase, 1935.153. Image courtesy Worcester Art Museum).

. How a man shall be armed, c. 1450 (New York, Pierpont Morgan Library MS M. 775, fol. 122v).

. Leonardo da Vinci, Thrown weapons. (Codex Atlanticus, vol. 2, fol. 144r; Veneranda Biblioteca Ambrosiana Milano/De Agostini Picture Library).

. The armor of Ferdinand V of Aragon, c. 1495 (Vienna, KHM-Museumsverband, Hofjagd- und Rustkammer A.5).

. Tournament armor of Claude de Vaudrey, c. 1495 (Vienna, KHM-Museumsverband, Hofjagd- und Rustkammer B.33).

. Jousting armor of Philip I, c. 1500 (Madrid, Real Armera A 16. Patrimonio Nacional).

. Jousting armor for the Gestech , c. 14801540 (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.1164. Image Worcester Art Museum, all rights reserved).

. Head of a pollaxe, c. 1440 (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.165. Image Worcester Art Museum, all rights reserved).

. Head of a warhammer, late 1400s (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.440. Image Worcester Art Museum, all rights reserved).

. Head of a partisan, c. 1500 (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.139. Image Worcester Art Museum, all rights reserved).

. Head of a spetum, 1500s (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.205. Image Worcester Art Museum, all rights reserved).

. Head of a ronca , c. 1500 (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.202. Image Worcester Art Museum, all rights reserved).

. Head of a halberd, early 1500s (Worcester Art Museum, MA, The John Woodman Higgins Armory Collection, 2014.222. Image Worcester Art Museum, all rights reserved).

The translator and publishers are grateful to all the institutions and individuals listed for permission to reproduce the materials in which they hold copyright. Every effort has been made to trace the copyright holders; apologies are offered for any omission, and the publishers will be pleased to add any necessary acknowledgement in subsequent editions.

Acknowledgments

The Collectanea is a complex work, and I am indebted to a number of people for their assistance in making this book possible. I would like to thank Sarah Kolba Hoover for helping to digitize the microfilm on which this translation was originally based; Krista Baker for her insights on track and field sports; Michael Gregory for his input on martial arts and physical training; Tobias Capwell for his thoughts on some of the more obscure points of fifteenth-century armor; Joseph Surez for helping defray the costs of image permissions; and Malcolm Parkinson for repeatedly urging me to undertake this project, as far back as 1998 when I was first applying for my position at WPI and the Higgins Armory Museum. I would especially like to thank Noel Fallows for his generosity in sharing his time and expertise. Above all I wish to express my gratitude to my late partner Christine Drew (19702013), former head of the reference department at the library of Worcester Polytechnic Institute, who helped me acquire copies of Montes works back when such things were hard to come by, and whose unfailing support and encouragement has been crucial to the completion of multiple ambitious publications at a time of extreme personal and professional challenges, even if she never got to see them through in person.

Introduction

For those who study the physical and material culture of chivalry, Pietro Montes Collectanea is a resource without parallel. We can glean much about the material world of the knight from other written sources, whether in the technical instructions offered by combat treatises, in references embedded in theoretical writings like those of Ramn Llull and Christine de Pisan, or in the workaday details recorded in inventories and account-books. Medieval painting and sculpture are crucial sources as well, and of course there are the surviving artifacts, whether preserved in ancestral armories or excavated from the ground. But among all these windows on the physicality of the chivalric past, Montes work stands out in a class by itself.

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